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Contemporary, a large bronze centrepiece sculpture in the form of a magnolia twig, of recent manufacture, with six candleholders,54cm wide50cm deep69cm high

▲ Richard Robbins (1927-2009), a figural group of a man and a woman, bronze, on a square base, signed 'RR',29.7cm wide29.7cm deep57cm highCondition ReportStructural the sculpture appears sound. There is surface dirt and residue, particularly to the crevices, and the piece would benefit from cleaning. There is oxidisation and scratches to the bronze - please see further images. There are remnants of an adhesive label to one side near the signed initials.

Attributed to Auguste Nicolas Cain (French, 1821 - 1924). A tour de force of 19th-century animal sculpture depicting a lioness or tigress in a moment of majestic ferocity and maternal protection. Cast in deep brown patinated bronze, the lioness is portrayed in a vigilant stance, her sinewy form captured midstride as she carries a freshly slain game bird in her jaws. At her feet, two playful cubs scramble for her attention, rendered with remarkable vitality and anatomical exactitude. The scene is both fierce and tender, an homage to the rhythms of the natural world and the familial instincts of wild animals. Auguste Cain was one of the most celebrated animaliers of the 19th century, trained under the guidance of renowned sculptor Pierre-Jules Mene, whose daughter he later married. Cain gained significant recognition for his masterful representations of exotic and domestic animals, becoming a regular exhibitor at the Paris Salon from 1846 and later receiving public commissions for monumental bronzes in the Jardin des Tuileries and the Louvre. His compositions are known for their dynamism, emotional depth, and anatomical precision, which helped redefine animal sculpture during the Romantic period. This sculptor of this piece, named Edouard Marcel Sandoz (Swiss, 1881 - 1971), and the company Susse Freres in Paris, famous for producing exceptional cast bronze sculptures. Signed A Cain to front. Signed Edouard Marcel Sandoz. Susse Freres impressed backstamp. Weight: 41.5lbs. Artist: Edouard Marcel SandozDimensions: 23"L x 7.5"W x 17"HCondition: Age related wear.

Charming and emotive, this limited edition bronze sculpture by American artist Floyd DeWitt depicts a seated bear with upward gaze and expressive detailing. Cast in warm brown patinated bronze, the bear rests on a textured naturalistic base, adding dimension and grounding the figure. The piece bears the artist's incised signature "DeWitt" along the base and is numbered 170 of 500. DeWitt, known for his figurative bronzes, infuses the bear with gentle personality, blending realism with stylized charm. The felted underside ensures safe display on any surface, making it ideal for collectors of wildlife art or fine bronze miniatures.Artist: Floyd DeWitt (American, b.1934)Issued: 21st centuryDimensions: 5.5"L x 5"HEdition Number: 170 of 500Condition: Age related wear.

A finely cast bronze sculpture depicting a youthful warrior in a moment of poised readiness, rendered with classical proportions and anatomical precision, holding a sword across his body as he prepares for combat, his stance capturing both elegance and tension. He is adorned with a simple loin wrap and stands atop a naturalistic base that can be removed. Louis Moreau, a distinguished member of the celebrated Moreau dynasty of French sculptors and the son of Jean-Baptiste Moreau. Trained in the Parisian tradition of academic realism, Louis Moreau emerged as a pivotal figure in the artistic milieu of the Belle Epoque. Renowned for his allegorical and romantic figural compositions, he exhibited regularly at the Paris Salon and was esteemed for his technical virtuosity and emotive sculptural language. His works are distinguished by their expressive detail, lyrical form, and classical gravitas. Front base plaque engraved "Alerta". Signed L Moreau. Weight: 33lbs. Artist: Louis Auguste MoreauDimensions: 13.5"L x 11"W x 27.5"HCountry of Origin: France Condition: Age related wear.

A tall and finely cast Japanese bronze figural candlestick depicting a crane standing atop a turtle, holding a lotus-form candle holder delicately in its beak. Measuring an impressive 29 inches in height, this sculpture blends refined craftsmanship with powerful symbolism - cranes represent longevity and renewal, while turtles symbolize stability and endurance in Japanese tradition. This composition, popularized during the Meiji period and continuing into the mid-20th century for export, has become a highly collectible motif. The statue shows exceptional detailing in the feathers and carapace, and retains its original bronze finish with a soft natural patina. A paper label marked "Japan" is affixed to the underside, dating the piece to the mid-20th century. This sculpture stands as both a decorative centerpiece and a representation of enduring harmony in Japanese artistry.Issued: 20th centuryDimensions: 29"HCountry of Origin: JapanCondition: Age related wear.

This two-piece set features a commanding limited edition bust sculpture of General Robert E. Lee paired with a copy of A Commitment to Valor: A Character Portrait of Robert E. Lee, compiled and edited by Rod Gragg. The sculpture is executed in a bronze-tone finish with finely textured detail, signed on the interior by the artist Erick Erickson and hand-numbered 212 of 1000. Accompanying the sculpture is the hardcover edition of the 2001 biography published by Rutledge Hill Press, a work highlighting Lee's leadership and legacy through historical documentation and quotation. Together, the pieces offer a thoughtful tribute to the Confederate general and his portrayal in American history.Artist: Erick EricksonIssued: c. 1966Dimensions: 15"HEdition Number: 212 of 1000Country of Origin: United States Condition: Age related wear.

A striking three-piece Art Deco-style figural group comprising a stylishly dressed woman holding chains attached to two elegant Great Danes. Executed in dark bronze-tone resin or composite material with engraved detailing, this piece is in the manner of George Gori's The Guardians. The sculpture bears an Andrea by Sadek label to the underside, indicating it is a decorative re-creation inspired by early 20th-century design. The woman wears a flared gown with raised bead textures and a cloche-style cap, while the hounds exhibit lean muscular forms, detailed collars, and stylized surface decoration. The figure and dogs are separate components connected by fine metal chains.Dimensions: 17.5"HCondition: Age related wear.

Italian sculptural group titled The Wrestlers. Powerful representation inspired by the ancient Greco Roman Lysippus, the renowned 4th century BCE sculptor of classical antiquity. Rendered with extraordinary anatomical realism and dynamic tension, the composition depicts two male athletes locked in an intense moment of physical struggle, showcasing a masterful study of musculature, motion, and human form. The original marble group is traditionally thought to reflect the stylistic influence of Lysippus, official sculptor to Alexander the Great and a transformative figure in Greek art who broke from the static proportions of Polykleitos, a well known sculptor before Lysippos, in favor of more slender, naturalistic forms. Lysippus introduced a new canon of bodily proportions and expressive movement, pioneering a dynamic aesthetic that profoundly influenced later Hellenistic and Roman sculpture. This contemporary cast, mounted on a textured naturalistic base and finished in a rich golden bronze patina. Weight: 64lbs. Dimensions: 20"W x 17.5"HCondition: Age related wear.

Two bronze Sculptures; Cherub and arts sculpture playing violin. 26cm tallest.

Antique Bronze Benin Group sculpture Tribal gathering on Base. 10x12x12cm.

STIK - Holding Hands Print (Orange), 2020 - A "Holding Hands" lithographic print by STIK, British b.1979 -As a gesture of kindness to his local community, STIK released thousands of square-shaped prints of his "Holding Hands" artwork to every household in Hackney. Five versions (orange, red, blue, yellow and teal) of this print were randomly distributed in September 2020 issues of the Hackney Today Newspaper. The limited-edition print was released to commemorate the permanent installation of the artist's "Holding Hands" bronze sculpture in Hoxton Square, London. The two stick figures convey unity and connection. The print displays a vertical and horizontal fold line, which is how it was originally issued in the newspaper. The lot displays light edge wear and a minor mark in the lower right corner.Dimensions: 50 cm x 50 cm (19.75" x 19.75")About the Artist: STIK is among the most celebrated street artists known for creating artwork featuring large minimalist stick figures (based on Japanese kanji characters). Although remaining anonymous, STIK has shared that he began painting his signature characters on the streets of Hackney in London whilst living in homeless shelters and social housing. His work, whether a painting, sculpture or limited edition print, features his signature style that initially may appear simple but is packed with emotion and impact, becoming highly sought-after.VAT Status: †

Sir Alfred Gilbert (1854-1934) bronze sculpture: 'Charity', 36cm high, on marble plinth. NB: Another example of this work (although with different patination) can be found in the V&A collection, dated to circa 1899

After Rodin, a bronze mask of Jean d’Aire, Burgher of Calais, on a stone plinth, 29.5cm high overall, together with a related plaster mask (2) Provenance: Formerly the property of artist Jonathan Trowell (1938-2013), thence by family descent. It is purported to have been cast between 1959 and 1962, from the original Rodin sculpture at the Royal Academy whilst it was on loan, by artists Jonathan Trowell and James Osborne.

A bronze sculpture of a wading bird, modern, incised mark to side 'RTR 2/10',31cm high

A bronze of a mermaid, 20th century, modelled seated on a scallop shell, with multiple fish, on a reconstituted stone plinth, 113cm high (sculpture)

A bronze figure of the standing Bodhisattva, 52.5cm high, together with a bronze sculpture of the Buddha in a seated position, 22cm high, and a bronze figure of a coiled hair Buddha in an empassioned embrace with a detachable Shakti, 20cm high, and a terracotta surmount with the head of the Buddha, 23cm high (4) Provenance: The Clock House, Dunmow, Essex Condition ReportThe surmount with Buddha attached later. Please see additional images. 

A bronze sculpture of a dragonfly, modern, incised to base 'JDH?08' and '3/25', 13cm wide, together a painted bronze stylistic sculpture of a hare's head incised to the ear 'RTR 4/12', 15.5cm long, together with three further animal sculptures (5)Condition ReportFurther photos added,

A bronze figure of a boy, 20th century, holding a fishing rod, seated on a tree stump, a fish at his feet, on a reconstituted stone plinth, 171cm high (sculpture)

Released as a Walt Disney Collectors Society Members Only sculpture, this captivating piece titled Pixie in Peril features Tinker Bell suspended inside a lantern, caught in a moment of whimsical distress. Presented in a burnished bronze-finish case with delicate glass panels, the sculpture vividly captures the adventurous spirit of Peter Pan's iconic fairy companion. It includes the original certificate of authenticity (COA) and comes with its original box. The underside is backstamped with all official markings, including the Walt Disney Collectors Society designation.Artist: Kent MeltonDimensions: 10.25"HCountry of Origin: United StatesCondition: Age related wear.

Emile Louis Picault (1833-1915), a bronze sculpture "Fait a Tunis", raised on a marble base. Height 71 cm, base dimensions 34 cm x 26 cm (see illustration).

Servant after the Ancient, sculpture bronze cast with original patina on later white marble base. 56 cm high.

Jumping Horse, bronze sculpture silvered with gilded sadle and bridle. On marble base early 19th Century. 30 x 20 cm.

Cobra Sculpture, monumental bronze sculpture. Over live size. In artificial design. Bronze cast with brown patina. Lightly weathered. 20Th Century. 150 cm high, 200 cm long.

Life size Art Deco Sculpture, of a dancing female nude on a round base , bronze cast with original patina and verdis gris , light damages on the base , lightly weathered around 1920. High 185 cm , wide 158

AFTER ÉMILE-CORIOLAN-HIPPOLYTE GUILLEMIN (1841-1907), A BRONZE FIGURAL LIGHT OR TORCHERE 'FEMME INDIENNE' CAST BY BARBEDIENNE, CIRCA 1886-1900 Bronze, signed to the cast "Ele. Guillemin 1872" on the base, incised "F. BARBEDIENNE FONDEUR", set on a cast iron cylindrical pedestal base the figure 147cm high to the top of the light, the base 89cm high, approximately 236cm high overall Provenance: Sotheby's London, European Sculpture and Works of Art 900 - 1900, 10th December 2002, Lot 195 Literature: F. Barbedienne catalogue-Bronzes d'Art, 1886, p. 63 E. Benezit Dictionary of Artists, Gründ, 2006, vol. VI, p. 877 Pierre Kjellberg Bronzes of the Nineteenth Century: Dictionary of Sculptors, , 1994, p. 369-70. After debuting at the Paris Salon in 1870, Emile Coriolan Hippolyte Guillemin became well-known for his taste for 'Orientalist' figures, Accommodating the taste of the wealthier and better travelled buyers, he specialised in producing models of figures from 'exotic' far-flung regions: courtesans from Japan, women and men from Turkey and Algiers, hunters and falconers from the Middle East and women from India and Persia. This figure of Femme Indienne was first modelled in 1872 and, after acquiring the rights to produce this model and two other pairs of sculptures, Barbedienne offered this sculpture in their 1886 catalogue as "Deux Femmes, Indienne et Persane" depicting both an Indian and a Persian female lifting torcheres in their upraised arms. They were offered in a choice of sizes: 200cm, 120cm, 95cm and 78cm high. An example of the largest version of the pair were installed to flank the entrance to the Barbedienne estate and were sold in 1984 at the Hotel des Ventes for 530,000 francs. Condition Report: Formerly electrified and with vacant holes from switches and prior mountings to upper right arm, base and to light stem. Traces of wiring visible to light section but the whole will require rewiring if wanted for domestic use. Probably repaired to base of top central stem which is slightly darker in colour. No glass globes. Surface of bronze with small remnants of previous more golden finish. Sone wear and scuffs notably to her left and hand and large scratch to base. Her right arm with construction joint to upper end- this has worked loose- probably from handling/rewiring and has small pin which may be original- and later screws mismatched which are not- will benefit greatly from remedial repinning Pedestal probably formerly painted- now stripped and with some rust from damp storage. Hole to top of one side presumably from prior wiringCondition Report Disclaimer

Sue Maclaurin (b.1948) limited edition bronze sculpture titled 'Lying German Shepherd', no.13/250, with certificate of authenticity and contained in a Nelson & Forbes Sculpture Co box, 14.5cm long and Limited edition "Standing German Shepherd" by the same hand, marked 33/250 (2)

After Emile Gregoire, Art Deco patinated bronze sculpture of a sea bird and a wave, signed Gregoire, on a rectangular black slate base, 33cm high x 59cm wide 

Bronze limited edition sculpture of a figure with head resting on knees, signed ' Florens Toys '  ?, number 35/44, on a naturalistic stone plinth base, 26cm high

CLAUDE LALANNE (1924-2019) Petit oiseau. Circa 1980. Sculpture en bronze. Signé CL au bout d’une des ailes. Élément de sculpture Petit Oiseau. Dimensions : 9 x 4,5 x 5 cm. Provenance : Collection particulière de l’atelier de Claude Lalanne Collection personnelle de Madame Dominique Rossignol, fabricante des bijoux pour les éditions Artcurial. Une attestation de provenance de la société Rossignol, fabricant des bijoux Artcurial , sera remise à l’acquéreur.

Jos DE DECKER (1912-2000), patinated bronze sculpture Ballerine avec queue de cheval, numbered EA IV/VI, signed and foundry stamp lost wax D. De GroeveJos DE DECKER (1912-2000), gepatineerd bronzen sculptuur in verloren wastechniek. ‘Ballerine avec queue de cheval’, genummerd EA IV/VI, getekend en met gieterijstempel D. De GroeveH 87.5 cm

Patinated bronze sculpture 'Chevaux de Marly' after Guillaume Coustou, 19th/20th century, signed CoustouGepatineerd bronzen beeld ‘Chevaux de Marly’ naar Guillaume Coustou, 19e/20e eeuw, getekend Coustou54.5 x 52.5 x 22.5 cm

Finely executed bronze sculpture of a seated nude boy, in a forward-leaning posture as he removes a thorn from his foot known as 'The Thorn-puller' (Spinario), after the Hellenistic-Greek original in the Musei Capitolini in Rome, marked fonderia artistica Martinelli FirenzeFijn uitgevoerde bronzen sculptuur van een naakte zittende jongen, met voorovergebogen houding terwijl hij een doorn uit zijn voet verwijdert. Dit beeld staat bekend als 'De Doorntrekker' (Spinario), naar het Hellenistisch-Grieks origineel in de Musei Capitolini in Rome, gemerkt fonderia artistica Martinelli FirenzeH 55 cm

Jan VAN DAMME (1957-2021), bronze sculpture of an old woman with a bag on her back, signed and dated 1934, with foundry stampJan VAN DAMME (1957-2021), bronzen sculptuur van een oude vrouw met een zak op de rug, getekend en gedateerd 1934, met gieterijstempelH 40 cm

Decorative patinated bronze wall sculpture of a climbing monkey pulling the hands of a clock, style Wiener Werkstätte Austria/Germany, circa 1940Decoratieve gepatineerde bronzen wandsculptuur van een klimmende aap die aan de wijzers van een klok trekt. In de stijl van Wiener Werkstätte Oostenrijk/Duitsland, circa 194019.5 x 8 x 7 cm

Walter DE BUCK (1934-2014), bronze sculpture of a couple, signed and datedWalter DE BUCK (1934-2014), bronzen sculptuur van een koppel, getekend en gedateerdH 21.5 cm

Henry Étienne DUMAIGE (1830-1888), large bronze sculpture ‘Judith with sword and bowl’, signedHenry Étienne DUMAIGE (1830-1888), grote bronzen sculptuur ‘Judith met zwaard en schaal’, getekendH 97 cm

Maria TALAGA (1946), bronze sculpture, signedMaria TALAGA (1946), bronzen sculptuur, getekendH 26.5 cm

After Giambologna, 20th century, a bronze sculpture of Mercury, shown standing, on a marble plinth, 87cm high

After Michel Claude Clodion (French 1738-1814): A Bacchanalia patinated bronze sculpture group depicting two dancing Maenads holding cymbals and grape vines, with a young grape-eating satyr to their side, fallen panpipes and a thyrsus lie on the naturalist base, signed and dated 1762, H62cm Dimensions: Height: 62cm 

After Jules Moigniez (French 1835-1894): Large bronze sculpture of an Owl with talons outstretched, raised on circular plinth, signed to base, H86cm x W59cm

Dennis Westwood (1928-2021) Continuance Patinated Bronze Sculpture, black marble base, 35.5cm high, 30cm wide, 23cm deep.ARR apply to this lot.

Tolla Inbar (German/Israeli b.1958) A large bronze sculpture, Aspiration Trio, from the Enlarging Rope series, 216cm high, the base 43cm x 46cm Provenance: deceased collector estate believed purchased from the artist. Tolla is considered one of the top Israeli artists working today. Born in Germany in 1958, Tolla attended the Merz school in Stuttgart until 1971. There she specialized in the art of ceramics and sculpture, developing her skill in an art form that would become a lifelong love story. Between 1977 - 1984 she studied at Bustan Institute and at Avni Institute of Arts, where she worked in stone and wood with well-known Russian sculptors. During these years of experimentation with varying materials, she transformed her style from realistic and figurative to more expressive and semi-abstract. Tolla describes her artistic process as a “relentless drive to keep creating different expressions of the ancient human spiritual quest for the divine.” This is evident in her rope sculptures which are both unique and naturalistic, balanced and fluid. In combining contrasting materials such as wood, metal, and bronze she is able to reflect tension or what she refers to as “spiritual optimism.” Tolla’s conviction is that, “our world is mostly composed of light and energy so that theoretically the victory of energy (spirit) over matter is only a question of time.” Tolla's works can be found in numerous private collections throughout Germany, France and the United States.ARR apply to this lot.

A vintage Austin bronze effect horse sculpture on wooden plinth - inscribed 'Marshall' to rear of base

A large Austin bronze effect resin sculpture entitled 'Body and Soul', depicting two lovers entwined

Franz Alexander Friedrich Wilhelm Wolff (1816-1887) a large 19th Century bronze shorthorn bull sculpture. Dated 1881. Signed. 47x18x29cm

Jose Luis Pequeno (B.1941) A Late 20th Century modernist bronze bird sculpture on marble base. Designed by Jose Luis Pequeno for Italica, Spain. 17x15x17cm

LOUIS-ROBERT CARRIER-BELLEUSE (FRENCH 1848 - 1913), MUSSEL GATHERERS, SAINT-MALO, BRITTANY oil on canvas, signed, titled label verso framed image size 33cm x 70cm, overall size 51cm x 88cm Label verso: Tom Bell Fine Art, Troon Note: this lot includes a conservation report and confirmation of signature. Note 2: Born in Paris on 4 July 1848, Louis-Robert Carrier-Belleuse grew up watching his father, Albert-Ernest Carrier-Belleuse, earn his living as a practicing artist. The elder Carrier-Belleuse entered the Ecole des Beaux-Arts in 1840 under the auspices of sculptor David d’Angers, but he elected to study decorative arts at the Petite Ecole shortly thereafter, perhaps because he felt that it would offer a better livelihood for his growing family. When Louis-Robert was only two years old, his father accepted a job in England where he designed ceramics and metalwork models for the Wedgwood factory, among others. This interlude lasted five years, until 1855 when the family returned to France where Albert-Ernest found work in Napoleon III’s massive urban renewal projects for Paris. Throughout these years, the young Louis-Robert studied with his father, absorbing his basic art education through direct observation, on-the-job training, and paternal instruction. Eventually, Louis-Robert entered the Ecole des Beaux-Arts where he focused his studies on painting. Under the direction of Alexandre Cabanel and Gustave Boulanger, two of the most successful painters of the era, Carrier-Belleuse mastered the academic techniques of drawing from plaster casts of famous sculptures, and in due course, the live model. In 1870, just as the Second Empire was coming to its disastrous conclusion, Carrier-Belleuse made his debut at the annual Salon. The eruption of the Franco-Prussian War disrupted life significantly; although it is unknown whether or not the 22-year-old Carrier-Belleuse served in the French Army, most young men performed their military duty at this age. As a result of the war—and the internecine bloodshed of the Commune—life in Paris was fundamentally changed. The city had been beaten and battered, and the political divisions among the citizenry were both painful and raw. The arts community was no exception. Traditionalists who supported the academic canon were impatient with the increasing number of artists who advocated for a fresh approach to painting as well as new venues in which to exhibit their work. Carrier-Belleuse, while not as radical as the Impressionists, nevertheless found his voice as a “painter of modern life” to cite Charles Baudelaire’s famous phrase. Like Constantin Guys, the painter that Baudelaire held up as his example, Carrier-Belleuse captured the daily life of Parisian streets. His images included people from all walks of life, whether it illustrated workingmen delivering sacks of flour in Porteurs de farine of 1885, or casual strollers on the grand boulevards as in The Bookseller of 1881. In both of these images, the painter’s academic education is obvious in the clear delineation of the human body, but his choice of urban subject matter suggests the influence of Degas or Steinlen, especially in the seemingly random combinations of anonymous figures going about their daily routine. Carrier-Belleuse also occasionally painted amusing genre scenes such as The Animal Sculptor. This undated work depicts the sculptor (perhaps Carrier-Belleuse himself) in his studio trying to grab a bite of lunch while the plaster swan on his worktable appears to be interrupting him. Nearby, two live swans observe this action, presumably a bit miffed that they are not being fed as well. The joke is purely visual, and it remains comical today precisely because it does not depend on any external narrative. What is even more intriguing is the compositional structure that Carrier-Belleuse created; the standard two-point perspective grid is offset by a technique that Degas often used of undermining the spatial organization by drawing parallel lines that will not meet at the hypothetical horizon.In 1889, Carrier-Belleuse accepted an appointment as artistic director of the Hippolyte Boulenger & Cie faience manufactory at Clichy-le-Roi where he designed new forms for the earthenware sculpture and pottery. That same year, Hippolyte Boulenger opened a retail store at 18 rue Paradis in Paris to showcase the new designs being produced. In fact, the building itself functioned as a ‘catalogue’ of the ceramic tiles from Choisy-le-Roi. The year 1889 was momentous. Not only did Carrier-Belleuse begin his tenure at Clichy-le-Roi, but he also received a Silver Medal at the Exposition Universelle. In addition, his contributions to France’s art and culture were recognized with the Legion of Honor Medal. At this time, he also began to focus increasingly on sculpture, particularly portrait busts. One of the more curious developments of Carrier-Belleuse’s career was the establishment of his reputation as a sculptor in Central American nations. This appears to have begun with a commission for the tomb of the liberal reformer and modernizer of Guatemala, President Justo Rufino Barrios, who died in April 1885. This in turn led to a large sculptural group designed as a National Monument for Costa Rica in 1890. Located in San José’s Parque Nacional near the Congress Building, the bronze monument commemorates the heroes of Costa Rican freedom. When it was unveiled during Independence Day celebrations on September 15, 1895, the Costa Rican people saw seven figures, five of them women. These allegorical figures represented the nations of Central America—Costa Rica, Nicaragua, El Salvador, Guatemala, and Honduras—each carrying some type of weapon to defend her sovereignty against foreign invaders. The sixth figure is the American military expansionist, William Walker, who attempted to annex Central America to the United States in 1855-57. Carrier-Belleuse depicted him hiding his face from the female defenders of freedom. The seventh figure, a fallen soldier, serves as a universal reminder of the human cost of warfare. The last decade of Carrier-Belleuse’s career was devoted primarily to sculpture and large-scale faience projects. When he died on 15 June 1913, his passing was noted not only in France, but also in the newspapers in London and New York.

Robert Fogell (b.1963)Winged Form1/5, signed and numberedgreen patinated bronze on a wooden base34cm wide. Light surface scratches to base.  A scratch type mark to sculpture.  This on one side about 2cm in wiggling line.  Otherwise appears good. Condition report photos added.

Rowan Gillespie (b. 1953) "Eagles Head," bronze sculpture, No. 1 of 3, 1987, approx. 6 3/4" (17cms) high Signed, dated and numbered, on loose black marble base. (1)

An early antique bronze "Ganesha" seated meditation four hand Hindu Ganapati Sculpture, (worn), approx. 13cms (5") high. (1)

A French Art Deco bronze Sculpture of two greyhound heads, Signed and mounted on a stepped marble base, approx. 53cms long x 29cms high (21" x 11 1/2"). (1)

Rachel Ricketts RBSA (Contemporary) Mountain Gorilla, Bronze Resin, 38 x 30 x 25 cmPrivate Collection, purchased from The Sculpture Show, Cambridge, 2005

After Bruno Zach (Austria, 1891-1935), an erotic cast bronze sculpture of a female nude, raised on circular stepped base, stamped 'B ZACH', 29cm high

BRYAN KNEALE RA (b.1930) untitled abstract sculpture, bronze, base stamped BK 77 height 25cm

BRONZE SCULPTURE OF 2 INTERTWINED FIGURES IN THE STILL OF MORRIS BLICK STYLE WILLEM DE KOONING

Large bronze sculpture of Pauline Bonaparte as Venus Victrix. An impressive and finely cast large bronze sculpture depicting a reclining classical female figure resting on a draped chaise lounge. The figure is rendered with elegant detail, her partially draped body posed in a relaxed, contemplative posture. Her hair is styled in an elaborate updo, and she wears bracelets on one arm. The chaise is adorned with ornate scrollwork and floral motifs along the sides and base. The piece exhibits a deep greenish-brown patina, enhancing the classical aesthetic and aged character of the sculpture. The underside is open, revealing casting marks.Issued: 20th centuryDimensions: 36"L x 11"W x 20"HCondition: Age related wear.

A cast bronze sculpture depicting the head of the Buddha, mounted on a black circular three-tiered pedestal base. The head is finely modeled with a calm, meditative expression, downcast eyes, and elongated ears. The facial features are smoothly contoured with a gentle arch to the brows and a well-defined nose and lips. The ushnisha, or cranial protuberance, is capped with a flame-shaped finial and exhibits the traditional stylized coiled hair rendered in dense, hemispherical nodules. The hair and topknot are presented in a reddish-bronze tone, while the face and neck show a darker patination consistent with aged bronze. The sculpture is secured to a black lacquered or painted base consisting of three stacked circular tiers, providing stability and a sense of elevation. The underside of the base appears to be covered in black felt.Dimensions: 5.5"W x 14.5"HCondition: Age related wear.

§ Philip Blacker (British b.1949) a a patinated bronze group of the racehorse Sonic Lady with jockey Walter Swinburn up, inscribed to the base PB 88, on a mahogany plinth with white metal plaque engraved with the details of the racehorse, w.41, d.13.5, h.39.5cm.Philip Blacker was born in 1949 and was educated in Dorset. On leaving school he became a steeplechase jockey and rode professionally for 13 years, being placed in the Grand National on several occasions and riding 340 winners. It was during this time that Philip developed his latent enthusiasm for sculpture. Under the guidance of Margot Dent, a former pupil of John Skeaping's, he devoted as much time to sculpture as he could spare from his riding -his first three editions, all racing bronzes based on The Grand National, sold out quickly. In 1982 he retired from the saddle to concentrate full time on sculpture. The reins in the left hand are not attached, it look as though there may be a break at the tip of the little finger where the reins were atttached, please see image no. 18.The base appears to be a stained mahogany and in good condition.Has been entered privately.

A lost wax bronze sculpture depicting the head of an elephant, raised on naturalistic base, signed Milo to the reverse, height 22cm