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Thierry Auneau (Contemporary, French) - a carved marble sculpture depicting a head, one half of which is completed and the other left blank or polished, unsigned but with original paperwork and receipts from 2010, on metal stand base, 23cm tall

Finely carved from white marble, this elegant sculpture is a neoclassical representation of the Venus of Milo, inspired by the ancient Greek masterpiece attributed to Alexandros of Antioch. The figure stands in a contrapposto pose with detailed facial features, softly rendered musculature, and intricately chiseled hair pulled back with a headband. Her body is partially draped with a delicately carved cloth wrapping around her lower torso and hips, emphasizing the classical ideals of beauty and proportion. The statue is rendered without arms, consistent with the famous original housed in the Louvre, evoking the timeless mystery and allure of the Hellenistic goddess of love and beauty. The base shows natural wear consistent with age and handling, and the sculpture exhibits a subtle translucency typical of fine marble. No maker's mark or inscription is visible on the underside of the base.Issued: Early 20th centuryDimensions: 12"L x 12"W x 36"HCondition: Age related wear. Marble base has diagonal crack that has been restored.

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.

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

João Cutileiro (1937-2021) UntitledMarble sculpture Comp.: 34 cm (larger element)

Abstract pink marble sculpture, upon a rectangular base, H63cm

Abstract marble sculpture modelled as a dancer, upon a rectangular base, H58cm

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.

WORKSHOP OF FRANCESCO DI SIMONE FERRUCCI (1437-1493), A POLYCHROME STUCCO RELIEF OF THE VIRGIN AND CHILD ITALIAN, LATE 15TH OR EARLY 16TH CENTURY Three-quarter length portrait of The Virgin, holding the Child in her arms, in walnut frame decorated with gilt-polychrome and inscribed to lower frieze 'Ave Maria Gratia Plena Do', below the escutcheon of the Franzesi Rinaldeschi family approximately 135 x 77cm Literature: E.Benezit, Le dictionnaire des peintres, sculpteurs, dessinateurs et graveurs. Maestro e Botteghe, pittura a Firenze, alle fine del Quattrocento p.149, 150. As with the example held in the Victoria and Albert Museum (Accession number 7622-1861) this is a stucco squeeze (or cast) probably cast from a terracotta or marble. The V&A example retains the architectural setting (and later 16th century base design)of Ferrucci's marble relief in the Palazzo Communale at Solarolo (near Ravenna), which was originally housed in the Rocca of Solarolo. This example is slightly pared back focusing on the primary image but shares the same composition, scrolling chair arm, fingers placement of her right hand over the standing child's right leg, and broad brushstrokes of clothing design. It lacks the oval medallion or brooch and her head is tilted fractionally less open- closer to an example in terracotta sold Sotheby's London, Old Master Sculpture and Works of Art, 10th July 2014 lot 174. Condition Report: The whole with characteristic wear, losses and retouching as is typical for an object of this period and size. Under natural light diagonal crack running from middle of lower margin of plaque up through her right hand and across mid body of child. Old inset damage and losses to wooden frame and signs of later strengthening to painted details. Under UV light the majority of the painted surface showing signs of later remedial retouching. All three carved elements reattached. Please see additional images. Condition Report Disclaimer

Raymond HEREMANS (1937), marble sculpture signedRaymond HEREMANS (1937), marmeren sculptuur, getekendH 35.5 cm

Maurice Vanderheyden (1944), large marble sculpture ’Reclining nude’, signed and dated '70Maurice Vanderheyden (1944), grote marmeren sculptuur ‘Liggend naakt’, getekend en gedateerd '7049 x 105 x 37 cm

Impressive sculpture of a fight between a lion and snake on marble plinth after Antoine-Louis Barye, French, circa 1900Indrukwekkende sculptuur van een gevecht tussen een leeuw en een slang. Op marmeren sokkel, naar Antoine-Louis Barye, Frans, circa 190028 x 57 x 21 cm

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

AFTER OTTO SCHMIDT-HOFER (1873-1925): An Art Deco Gilt Metal Sculpture of a Dancer, her arms outstretched, signed, raised on a square marble base, 39cm high.

A CARVED MARBLE SCULPTURE OF NANDI THE BULL India, 19th centuryA finely carved white marble figure of Nandi, the sacred bull and mount (vahana) of the Hindu god Shiva, portrayed in a recumbent pose with legs tucked beneath its robust body and head raised in calm alertness, the hump and dewlap clearly defined, adorned with a double string of prayer beads (rudraksha mala) around its neck, the detailing of the musculature, ears, and tail sensitively modelled, resting on a flat rectangular plinth base with age-softened edges, weathering and mineral accretions consistent with long-term temple or outdoor placement.19.5cm x 7.5cm x 16cm 19.5cm x 7.5cm x 16cm Qty: 1

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

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

JAMES FILLANS (SCOTTISH 1808 - 1852) BUST OF ROBERT BURNS marble bust, raised on a socle and plinth base, inscribed to base ROBERT BURNS, FILLANS64cm tallNote: An exciting new discovery of 19th Century Marble bust of Robert Burns by James Fillans (27 March 1808 – 27 September 1852) Fillans was a Scottish sculptor, poet and artist with a short but influential career in the early 19th century. The sculpture was discovered languishing in a garden in the West Midland for over thirty years. There are examples of the artist’s work, in the collections of Glasgow Museums Resource, Kelvingrove Art Gallery, Pollock House, Institution of Mechanical Engineers and Dumfries Museum and Camera Obscura. It is believed that the National Trust for Scotland hold a plaster version of this same sculpture.

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)

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)

A Roman marble portrait head of the Emperor Titus, Flavian period, c.80 CE, the broad face with fleshy cheeks and chin, his hair in tight curls over a deeply furrowed brow, the head 21cm wide 24cm deep 33cm high, on a later limestone bust, bearing painted inventory number 'F597', 45cm high overall Provenance: Collection of the Prince of Liechtenstein, Franz Joseph II (1906-1989); Sotheby's, London, 'Antiquities', 17 May 1983 lot 196; with Royal-Athena Galleries, Beverly Hills, California; the collection of Daniel Alan Radler; Sotheby's, New York, 'Master Paintings and Sculpture Part II', 27 January 2023, lot 558; acquired from the above sale by the current owner. Literature: K Fittschen and P Zanker, 'Katalog der römischen Porträts in den Capitolinischen Museen und den anderen kommunalen Sammlungen der Stadt Rom', pp.33-34, nos. 28-30; G Daltrop, U Hausmann, M Wegner, 'Das römische Herrscherbild ii, I: die Flavier: Vespasian, Titus, Domitian, Nerva, Julia Titi, Domitilla, Domitia'. See also: The Capitoline Museum, Rome, Hall of the Emperors 19, no. 433, Municipal Antiquarium store nos. 7673 and 3361; the British Museum no. 1909,0610.1; Naples Archaeological Museum no. 6059; the Borghese Gallery, no. CLXXI. For pieces bearing similar inventory numbers, see Christie's, Amsterdam, 'LIECHTENSTEIN: Property from the Collection of the Princely House of Liechtenstein', 1 April 2008. Before his brief reign from 79-81 CE, Titus earned distinction as a military leader, notably serving alongside his father, the Emperor Vespasian, during the First Jewish-Roman War in Judea. The campaign was briefly interrupted by Emperor Nero’s death in 68 CE, which triggered Vespasian’s pursuit of imperial authority during the Year of the Four Emperors. Once Vespasian was proclaimed emperor on 1 July 69 CE, Titus was tasked with quelling the Jewish uprising. In 70 CE, he led the siege and eventual capture of Jerusalem, destroying the city and the Second Temple. In recognition of this victory, Titus was honoured with a triumph and his success was later commemorated by the building of the Arch of Titus, which still remains standing today. This head of Titus, now on a modern bust, relates to three examples examined by Klaus Fittschen referencing scholarship, including that of Max Wegner. All youthful in appearance, each with heads turned slightly to the left, with fleshy cheeks and tight curly hair, they appear to relate to the 'Herculaneum Titus' (type A), which is understood to have been executed upon his return to Italy in 71 CE, following his victory in Judea. The drilling of the hair to the front of the head, the style and workmanship of which is consistent with that of other Flavian portraiture, finds comparisons in all of the examples brought together by Fittschen, as well as a portrait in the Borghese Gallery in Rome, which Jessica Clementi suggests may have been executed just before the beginning of Titus' reign, when he was around 40 years old. The Princely Collections of Liechtenstein, based in Vaduz and Vienna, are among the most prestigious private art collections in the world. Franz Joseph II (1906-1989), to whom this bust once belonged, was pivotal in preserving and repositioning the Liechtenstein Princely Collection during a period of immense political and cultural upheaval. He became the first reigning prince to take up residence in Vaduz in 1938, a symbolic and strategic move that helped solidify the principality’s independence during the rise of National Socialism. One of his most consequential actions was the relocation of the core of the Princely Collection from Vienna to Vaduz during the final months of the Second World War. This safeguarded the collection from potential wartime destruction or seizure and ensured the survival of one of Europe’s most important private art collections. In a letter of March 1974, penned by Dr Norbert Heger of the University of Salzburg to Dr Reinhold Baumstark, then director of the Princely Collections, he recalls a conversation several years prior with a Dr G Willhelm, the previous Director: 'Director Dr. Wilhelm showed me one day in Vienna four Roman heads of unknown provenance, of which three (a portrait of Titus Inv. No. F597, an [unidentified] head Inv. No. F595 and an over-life-sized bust in the style of Antinous) are not in question...' While the date of its accession is unknown, this places the bust of Titus in the collection c.1970. Additionally, a 2008 sale of 396 works from the Princely House of Liechtenstein at Christie's, Amsterdam, included several pieces with inventory numbers from F555-F674, which are recorded as having been in Vienna between the 1920s and the 1940s, before being moved to Schloss Vaduz in 1944. It is, therefore, reasonable to imagine that this bust was among their number during that period. Condition ReportThe head without bust measures 22cm wide x 23cm deep x 32cm high. The bust measures 33cm wide x 27cm deep. The bust is modern. The head and bust, up until recently, were united and have undergone recent professional restoration to be separated. Re-carving and re-finishing of the bottom of the neck to facilitate the later mounting, including a large drill hole for the metal dowel. A small amount of possible re-carving/ tidying up to the front of the hair where it meets the forehead, however, the clear line between hair and forehead has a parallel in the line beneath the chin, indicating that these may be guidelines by the original sculptor. A few small chips to the extremities of the head, including the tip of the nose, curls of the hair and one of the ears. A small recent break and glue repair to the back of the neck. Some more recent scratches, lines and small, thin superficial cut marks in places. General dirt, weathering and patina. Evidence of some historic staining, residue from previous restoration, cleaning and conservation, however this does not appear intrusive. Overall, the piece appears structurally stable.

AFTER GIAMBOLOGNA, A LATE NINETEENTH CENTURY BRONZED CAST METAL SCULPTURE OF 'HERMES ON THE WINDS OF AEOLUS' stood on a relief patterned pillar surmounted on a square black marble plinth, height 82.5cm (1) (Condition Report: chipped corners to the marble, flecks of white paint and dirt)

A Hellenic Art Warrior Gladiator sculpture raised on a marble base, h33.5cm

Charming Harmony Kingdom box figurine titled Sweet Serenade, handcrafted in England from marble resin. This delicate sculpture features a detailed hummingbird with outstretched wings perched amid blooming flowers. The figural top lifts off to reveal a hidden compartment, staying true to Harmony Kingdom's signature "secret box" design. Artist hallmarks are carved along the interior rim, and the underside is stamped with the Harmony Kingdom crown logo and copyright label.Issued: 1995Dimensions: 2.5"HCountry of Origin: EnglandCondition: Age related wear.

This collectible piece is hand-crafted from a blend of crushed marble and resin. The outer sculpture depicts a richly detailed scene featuring a dog and a cat alongside other elements such as a perched bird, yarn balls, and a container of various household tools. Topped with a decorated dome-like lid, the box reveals a small bird carved inside when opened. Harmony Kingdom stamps. This item includes its original box and identification card insert. TJLEB00F.Artist: Ann RichmondIssued: 2000Dimensions: 2.5"L x 2.25"W x 2.75"HCountry of Origin: EnglandCondition: Age related wear.

''Continuita'' Marble Sculpture by Sibylle PascheMounted on steel plinthDimensions: Total height: 194cm, Plinth Dimensions: Height: 78cm, Width: 37cm, Depth: 37cm Please Note: The final hammer price on this lot will be subject to VAT at 20%, VAT will also be charged on the Buyers Premium.

MARK CORETH (B 1958) - LARGE BRONZE SCULPTURE 'FLYING GROUSE'. (d) MARK CORETH (B 1958) - LARGE BRONZE SCULPTURE 'FLYING GROUSE'. (d) A large limited edition bronze sculpture of a Grouse in flight, mounted on a polshed black marble base. Signed to the base of the sculpture, '1/12, M Coreth'. 36cms high, 32cms long from beak to tail, base 18.5cms by 11cms *Artists Resale Rights Applies to this lot. *CR Generally seems in good condition, no obvious issues, a few indentations to the surface in places from the casting, tail feathers - one small area which is slightly rough to the touch and slightly indented.

BRONZE SCULPTURE OF A HORSE & JOCKEY, & TWO INSCRIBED HORSES HOOVES. BRONZE SCULPTURE OF A HORSE & JOCKEY, & TWO INSCRIBED HORSES HOOVES. An interesting group of items relating to Miss Lumb's Horse 'Mona'. Including a bronze sculpture of a horse and jockey in motion, mounted on a marble plinth and with a plaque (Rockwood Hunt Steeplechase, Ladies Plate, Won by Miss Lumb's (Mona), March 18th 1923), signed and dated to the base (base 36.5cms long, 21.5cms high). Also with two mounted horses hooves, one inscribed for 'Mona, foaled 1910, died 1933' (made by Peter Spicer), also with another mounted hoof by Peter Spicer with a list of races and dates. (3). *CR Horse, some small chips to the marble base in places,one leg has been broken and repaired.

Verdi gris Grand Tour bronzeon a marble base, 25cm high With a loss to the left arm, which may be from the original sculpture.

Whimsical Harmony Kingdom figurine titled Leather Anniversary, crafted in marble resin and marked with a copyright date of 1998. This humorous piece depicts a biker couple atop a vintage scooter, complete with leather outfits, a "Learner" license plate, and a dog peeking out from the front compartment. Designed in England as part of the original box figurine collection, this charming sculpture also features hidden interior details and artist hallmarks engraved around the base. The base is inscribed 30 Sept 98 and the piece includes its original green box.Issued: 1998Dimensions: 3.5"HCountry of Origin: EnglandCondition: Age related wear.

Charming Harmony Kingdom box figurine titled Bamboozled, featuring an adorable panda munching on bamboo. Crafted in marble resin, this collectible sculpture is part of Harmony Kingdom's popular animal series and opens to reveal a hidden compartment inside the panda's body. The interior reads "1000 TO SAVE," referencing the endangered status of pandas at the time of production. The base is signed with multiple hallmark symbols, and the figure is presented in its original green velvet box marked The Original Box Figurine'.Issued: 1997Dimensions: 3"HCountry of Origin: EnglandCondition: Age related wear.

Delightful Harmony Kingdom box figurine titled Rumble Seat, made in England and dated 1996. This finely detailed marble resin sculpture features a playful tumble of kittens packed into a wooden chair, their tails, paws, and whiskers entwined in charming chaos. A classic example of Harmony Kingdom's animal-themed artistry, the lid lifts off to reveal a hidden compartment with cheese, typical of the Original Box Figurines line. The interior bears artist markings and hidden symbols. Includes its original cylindrical green Harmony Kingdom box with gold and ivory label.Issued: 1996Dimensions: 3"HCountry of Origin: EnglandCondition: Age related wear.

Grand Tour, an Architectural Marble Sculpture from the Temple of Vespanian and Titus, Rome. A marble sculpture from the Temple of Vespanian and Titus, Roman Forum, Rome. With hand-sculpted Corinthian columns, frieze with the inscription 'ESTITVER' and finely detailed cornices. Mounted on a black marble base. Marble. (23.5 x 63 x 24 cm) Grand Tour, eine architektonische Marmorskulptur aus dem Tempel von Vespan und Titus, Rom. Eine Marmorskulptur aus dem Tempel des Vespanian und Titus, Forum Romanum, Rom. Mit handgeschnitzten korinthischen Säulen, Fries mit der Inschrift "ESTITVER" und fein ausgearbeiteten Gesimsen. Montiert auf einem Sockel aus schwarzem Marmor. Marmor. (23,5 x 63 x 24 cm)

After Max Milo (b.1938) bronzed sculpture 'la penseur', foundry mark to back, on square marble base, 26cm high

PAIR OF BLUE AGATE BOOKENDS, 14cms (h), a Moroccan Orthoceras fossil sculpture, 25.5cms (h), and a pair of marble Orthoceras bookends, 16cms (h)Provenance: private collection Flintshire

After F Lerot, a pair of bronze figures, on marble plinths, 58 and 59cm high Condition ReportCollection of dust throughout. Scratches and roughness to the marble base. Some chipping to the corners of the marble bases. Slight marking to the exterior commensurate with age, Sculpture with hand raised has cracking to the rear of one leg. Some areas of marking on the base of the cape measuring 1cm x 0.5cm.Sculpture drawing sword has an area of marking/repair on the base and the cape in multiple areas. Approximately 14.4kg and 16.4kg The marble bases are attached with two bolts that can be unscrewed.

A Victorian French marble mantel clock by Fritz Marti, featuring gilt scrollwork framing the white enamel dial, with floral decoration and Arabic numerals, reddish-patterned marble body with brass animal feet, medallion stamped on the movement, size W29 x D17 x H17cm. No key pendulum or bell. Damaged decorations, appears incomplete with missing top sculpture.

Patinated bronze sculpture titled Bacchantes, cast after the original by Claude Michel, known as Clodion. This exuberant Neoclassical composition depicts two dancing female figures-Bacchantes-entwined in motion, one lifting a tambourine, the other holding a cluster of grapes, embodying Dionysian vitality and celebration. The figures are finely modeled with flowing drapery and expressive details, mounted on a polished rouge marble base. Claude Michel, called Clodion, was a renowned French sculptor of the Rococo and early Neoclassical periods. A student of Jean-Baptiste Pigalle, Clodion became celebrated for his dynamic and sensuous works, often drawing from classical mythology. His terracotta and bronze creations are admired for their lively movement and intricate details, exemplifying the artistic spirit of 18th-century France. Signed Clodion on the base. Likely cast in the late 19th century, consistent with the revival of classical themes in French decorative bronzes of that period.Artist: Claude Michel called Clodion (French 1738-1814)Issued: Late 19th centuryDimensions: Approximately 13"L x 13"W x 26 including baseCountry of Origin: France Condition: Age related wear.

A striking modernist sculpture featuring a carved marble question mark suspended within a clear Lucite frame, creating a compelling sense of contrast and balance. The question mark element appears to float in space, highlighting both material tension and conceptual ambiguity. Mounted on a solid black composite base this sculptural work offers a bold visual statement suited for modern interior or gallery display. The previous owner used this for seances and otherworldly detection, and (it was claimed) "they" made their presence and purpose known by causing the pendulum to swing.Issued: 1970-1980Dimensions: 26"L x 14"W x 55.75"HCondition: Age related wear.

Antique Bronze Sculpture – Dancer on Marble Base    Height: 24 cm            Condition: For a detailed condition report,      please email info@hammersite.com

Ca. AD 150. A finely executed marble torso representing the fragmentary figure of a youthful male, most likely an ephebe. It is preserved from the neck to mid-thigh, with both arms and the lower legs missing. The sculpture, carved in fine-grained white marble, displays a warm, subtly variegated surface and retains light patination in several recessed areas, including the underarms, indicating age and long-term exposure to environmental agents. The figure is rendered in contrapposto, with the weight subtly shifted to the left leg, the right leg set slightly forward and relaxed. This is particularly visible in the tilt of the hips and the gentle curvature of the lower abdomen, conveying a sense of latent movement. The musculature is idealised, with smooth planes and understated transitions rather than anatomical exaggeration. The thorax is broad and gently modelled, with the pectorals moderately defined but not hypertrophic. The delineation of the costal arch and oblique lines suggests an attentive observation of youthful anatomy, characteristic of Roman classicising tendencies. For similar see: C. Gasparri, M.A. Tomei, Museo palatino Le Collezioni, Electa Editore, 2014, Statua di Dioniso, Cat. 129, p. 325; AA. VV., I Borghese e l'antico, Skira Editore, Fauno che suona il flauto, 2011, Cat. 30, p. 302. Size: 42 cm with stand; 62 cm without stand Provenance: Private UK collection, since the 1990s. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Alexander Archipenko 1887 Kiew (Ukraine) - 1964 New York Symmetrischer Torso. 1921/1997. Bronze mit grünlicher Patina. Seitlich mit dem Namenszug, der Datierung und der Nummerierung. Exemplar 6/8 F aus einer Auflage von 8 Exemplaren in Bronze, von denen 6 ausgeführt wurden. Höhe: 72 cm (28,3 in). Autorisierter Guss der Alexander Archipenko Foundation, New York. Postum gegossen von Modern Art Foundry, USA. • Reduzierte klassische Skulptur von zeitloser Eleganz. • Archipenko erhebt das Verhältnis von Skulptur und Raum, von Volumen und Linie zum maßgebenden Kriterium. • Einst in Europa zurückgelassen, findet das Gipsmodell dieser Arbeit 1956 den Weg zurück zum Künstler. • Skulpturen Archipenkos gehören zu den innovativsten Formulierungen der avantgardistischen Plastik. • Lebendige, besonders fein glänzende Patina. PROVENIENZ: Sammlung Frances Archipenko Gray, New York. Galerie Thomas, München (vom Vorgenannten erworben). Privatsammlung Rheinland-Pfalz (2012 vom Vorgenannten erworben). AUSSTELLUNG: Archipenko, Galerie Maeght, Paris, 1997/98 (m. Abb. S. 73). LITERATUR: Hans Hildebrandt, Alexandre Archipenko. Son oeuvre, Berlin 1923, WVZ-Nr. 21 (Exemplar in Marmor). Anette Barth, Alexander Archipenkos plastisches Oeuvre. Bd. 2: Werkverzeichnis, Frankfurt a. Main 1997, WVZ-Nr. 137 (Exemplar in Marmor, siehe Hinweis S. 268 zu den Exemplaren in Marmor, Terrakotta und frühen Bronzefassungen). Diese Arbeit ist im Catalogue Raisonné auf der offiziellen Website der Alexander Archipenko Foundation unter der WVZ-Nr. 's.21-01' und der Werknummer '2294' verzeichnet. - - Galerie Thomas (Hrsg.), Alexander Archipenko. Skulpturen, München 2009, S. 36 (m. Abb.). Aufrufzeit: 07.06.2025 - ca. 17.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONAlexander Archipenko 1887 Kiew (Ukraine) - 1964 New York Symmetrischer Torso. 1921/1997. Bronze with greenish patina. With the name, date, and number stamped on the side. Copy 6/8 F from a series of 6 known bronze copies. Height: 72 cm (28.3 in). Cast authorized by the Alexander Archipenko Foundation, New York. Posthumously cast by Modern Art Foundry, USA. • A reduced sculpture of timeless elegance. • Archipenko elevates the relationship between sculpture and space, volume and line to the defining principle. • Once left behind in Europe, the plaster model of this work found its way back to the artist in 1956. • Archipenko's sculptures are among the most innovative statements in avant-garde sculpture. • Vibrant patina with a particularly fine luster. PROVENANCE: Frances Archipenko Gray Collection, New York. Galerie Thomas, Munich (acquired from the above). Private collection, Rhineland-Palatinate (acquired from the above in 2012). EXHIBITION: Archipenko, Galerie Maeght, Paris, 1997/98 (illustrated on p. 73). LITERATURE: Hans Hildebrandt, Alexandre Archipenko. Sein oeuvre, Berlin 1923, catalogue raisonné no. 21 (marble version). Anette Barth, Alexander Archipenko's plastisches Oeuvre. Vol. 2: Catalogue raisonné, Frankfurt am Main 1997, no. 137 (marble version, see note on p. 268 regarding the marble, terracotta, and early bronze versions). This work is listed in the catalogue raisonné on the official website of the Alexander Archipenko Foundation under the number “s.21-01” and the work number “2294.” - Galerie Thomas (ed.), Alexander Archipenko. Skulpturen, Munich 2009, p. 36 (illustrated). Called up: June 7, 2025 - ca. 17.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Abstract marble sculpture modelled as a dancer, upon a rectangular base, H58cm

Abstract pink marble sculpture, upon a rectangular base, H63cm

* JAKE HARVEY RSA (SCOTTISH b. 1948), THE MAIDEN'S DREAM forged steel and welded found objects and stone, cast into bronze in an edition of 6, on stone base, signed and dated '89 91cm tall x 79cm wide Publication: Jake Harvey - Sculpture 1972-93. Catalogue produced to accompany the exhibition of Jake Harvey’s sculpture at the Talbot Rice Gallery in October 1993. Cat 105. Illustrated inside front cover. Reference by Douglas Hall page 22 Note: ‘My creative stimulus comes from many sources but frequently evolves from drawing things seen and imagined, from lived encounters with the landscape and, in the reductive process of carving, from embracing the tangential ways of making that evolve. The title of this exhibition of sculptures carved in basalt, granite, marble and porphyry relates to a material and a way of working it. In a broader context it links to my aim to create simple sculptural forms; works of distilled essence that invite deliberation from the viewer; sculptures made by a process of paring down and refining in terms of both form and concept.’ – Jake Harvey, 2022. Jake Harvey is a sculptor of elemental works imbued with stillness, sense-stimulus and a sophisticated Zen-like simplicity. He carves granite, basalt, marble and limestone, often placing the simple abstract forms directly on the wall or floor, or sometimes on shaped bases that can be set indoors or outside within a landscape. After studying sculpture at Edinburgh College of Art (1966–72), Harvey went on to become the Head of School of Sculpture for eleven years. He is currently Emeritus Professor of Sculpture and lives and works in Maxton in the Scottish Borders. Increasingly intrigued by the relationship of man to the earth and enthralled by the shaping of earth by man and vice versa, his sculptures retain the indexical mark of the maker and often subtly imply an indeterminate use or function.

A finely cast bronze sculpture after French artist Antonin Mercie's celebrated work The Abduction of Psyche, portraying the mythological tale of Cupid (Eros) lifting Psyche heavenward in a moment of romantic transcendence. This neoclassical piece exhibits rich detailing in both figures"Cupid's expansive feathered wings and Psyche's graceful, upturned form"as they rise together in motion. The sculpture is mounted on a polished green marble base, complementing the dynamic upward thrust of the composition. A striking homage to Mercie's 19th-century interpretation of classical mythology. Measures 11.5"H. Dimensions: See DescriptionIssued: 20th century Condition: Age related wear.

Bronze sculpture of a washer woman, unsigned, on green marble base, H20cm

An African carved marble abstract sculpture, H42cm

4th century B.C. Carved in the form of an elaborate palmette with stems in the form of spiral tendrils rising from acanthus leaves, a small rosette at the top between the converging fronds; holes on the reverse for attachment to shaft; mounted on a custom-made display stand. See Möbius, H., Die Ornamente der griechischen Grabstelen klassischer und nachklassischer Zeit, Berlin, 1929; Vedder, U., Untersuchungen zur plastischen Ausstattung attischer Grabanlagen des 4. Jhs. V. Chr., Frankfurt, 1985; Riegl, A., Problems of Style: Foundations for a History of Ornament, Princeton, 1992; Clairmont C. W., Classical Attic Tombstones, Kilchberg, Switzerland, 1993; Grossman, J.B., Greek Funerary Sculpture: Catalogue of the Collections at the Getty Villa, Los Angeles, 2001; Brinkmann, W., Wünsche, R., Bunte Götter, die Farbigkeit Antike Skulptur, München, 2004. 57 kg total, 47 cm (53.5 cm including stand) (18 1/2 in. (21 in.)). [A video of this lot is available to view on Timeline Auctions Website]Acquired on the New York, USA, art market, 1994. with Christie's, London, The Stanford Place Collection of Antiquities, 26 April 2006, no.30. Private collection, UK. Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by copies of the relevant Christie's 'Stanford Place Collection' catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12614-235145. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.This iconography was adapted from the Egyptian and Asiatic honeysuckle, also known as lotus palmette. First depicted on Attic white-ground lekythoi; in the 5th century B.C., then as architectural decoration, carved marble examples of this type of funerary monument were erected in the 5th-4th century B.C. It was not unusual for the anthemion to be of higher quality than the figures sculpted and painted beneath it. One splendid example is the stele of Paramythion (cf. Brinkmann-Wünsche, 2004, pp.148ff.). These memorials, originally painted, were venerated by families, anointed with oil, decorated with ribbons, and graced with offerings of food.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

A Bronze Franco-Prussian Artillery Sculpture, in the form of Germans attacking a French Gunner, stamped to one end 'Propriete', with a foundry mark, possibly EV or VE, mounted on marble base, base18cm x 13cm, 2.9kg, including basePlease see additional images

Summer, marble sculpture, European, 19th C., late marble pedestal, minor faults on the pedestal. Notes: Provenance: Sir Francis Cook Collection (1817-1901), Monserrate Palace, Sintra. It was placed in one of the large niches in the Music Room, according to a photograph by Carlos Relvas taken around 1880. - vd. exhibition catalogue "Monserrate revisitado - a Colecção Cook em Portugal" Lisbon: Parques de Sintra - Monte da Lua, 2017, p. 186 Purchased by the grandfather of the current owners at the auction of the contents of the Monserrate Palace, held in November 1946., Dim. - (escultura) 114 cm; (pedestal) 56 cm

A table clock, marble with brass mounts, gilt bronze sculpture en relief "Rooster stepping on a sphere on two books", white enamel dial with black Roman and Arabic numerals, eight-day autonomy, hour and half-hour striking, pendulum regulation on the dial, French, 19th C. (1st half), chips on marble, wear to the gilt, mechanism requiring maintenance, dial signed GASTON JOLLY - PARIS, Dim. - 35 cm

Bust of a Roman Emperor, marble sculpture, different colour marble base, Italian, 18th/19th C., neck gluing, nose faults, other minor faults, Dim. - (busto) 15 cm; (total) 21 cm

Signed Bronze Rabbit and Kit Sculpture on Marble Plinth

A bronzed spelter sculpture of a horse on a marble plinth, 24cm tall

The National Horseracing Museum 'Becher's Brook' The Grand National 150th Anniversary Sculpture 1839-1989 by J Osborne on a marble base.

M Leducq (French, 1879-1955), a bronze-patinated sculpture of a stalking panther or other big cat, on a marble and alabaster platform base, signed to back leg, circa 1930s to 1950s, 61 cm x 15 cm x 23 cm

A contemporary 21st-century carved polished solid white marble mythological inspired sculpture of Pegasus and female rider. The female figure wearing a crown with flowing drapery. Pegasus depicted in a rearing position with splayed wings. All raised on a stepped plinth base.This lot is ONLY available for viewing by appointment, address to follow upon request. Collection from an alternative address, disclosed upon purchase. Measures approx. 65cm x 55cm x 20cm.