'La Défense du Foyer', late 19th century, France Brown patinated bronze, showing a Gallic warrior protecting his wife and child, signed on the round base: 'La Défense du Foyer' and 'E. Boisseau'.

'Jeanne d'Arc', late 19th century, France Brown patinated bronze, showing the standing figure of Jeanne d'Arc looking at the heavens, signed 'E. Laurent' on the base.

'Pro Jure', late 19th century, France Brown patinated bronze, showing a walking Gallic warrior with his sword and shield, signed E. Picault on the base.

'Diogène', late 19th century, France Brown patinated bronze, cast by E. Colin & Cie foundry in Paris, showing the Ancient Greek philosopher Diogenes of Sinope holding aloft a lantern to search for an honest man, signed to one side of the base 'Marioton Sc.' and the foundry mark 'E. Colin & Cie Paris'.

'The Knife Sharpener' or 'Petit Pierre Gagne Petit', late 19th century, France Brown patinated bronze, showing the artisan next to his tool, signed 'P. Dubois' to one side of the base.

'Wasserschöpferin' (Water Nymph), late 19th century, Germany Brown patinated bronze, showing the nymph kneeling down to pour water in a shell, signed E. Cauer on the rock, mounted on a black variegated marble base.

'Baigneuse' (III), ca. 1931, Belgium Green/brown patinated bronze, showing a lightly stylized kneeling nude figure, raising her left arm upwards, signed 'G. Minne' (on the top of the base) and '2/6' (on the back of the base), a larger executed version of his third model of bathers.

Theban dancer, ca. 1925, France Bronze, the figure modelled as a dancing maiden seated with arms outstretched, above an Egyptian frieze, mounted on a pink onyx base, which is signed 'Cl J R Colinet' to the right.

'Mevrouw Duintjer', 1959, Netherlands Green patinated bronze, signed to the back with the initial 'C', mounted on a black hardstone socle.

Large dressage horse, second half 20th century, Netherlands Bronze, showing the horse in a trot or piaffe movement, signed on the belly with the initials 'DW', mounted on a black stone plinth.

Large Arabian horse, second half 20th century, Netherlands Bronze, showing the horse in a trot or piaffe movement, signed on the belly with the initials 'DW', mounted on a black stone plinth.

Amazone, 1978, Netherlands Bronze, showing a rider on a horse in a trot or pace movement, mounted on a black stone plinth. Attached: a letter written by the sculptor himself stating that this particular bronze was made in the summer of 1978, using lost-wax casting and meant as an original piece. From this bronze, a silicone negative was made, from which six numbered and signed copies were cast. This is the reason why the bronze on offer here is not signed and numbered. The attached photo shows the sculptor in his workshop, holding a wax model of a similar horse.

Small Arabian horse, second half 20th century, Netherlands Bronze, showing the horse in a standing or walking pose, signed on the ground, mounted on a grey granite base.

Second half 20th century, Italy Black patinated bronze, the stylised figure of a standing cockerel, the base stamped with the foundry mark 'Fonderia M Italy' and the sculptor's monogram. The Italian foundry Fonderia M also produced bronzes by Fernando Botero.

'Queen Beatrix' ('Koningin Beatrix'), 1980, Netherlands Bronze, a bust, representing the former queen, placed on a high wooden pedestal.

'Moeder en kind' (Mother and Child), ca. 1978, Netherlands Bronze, a mother reaching for her daughter, monogrammed 'KV' to one side of the base, an edition of 500 (Stichting Wereldkinderen).

Mid-18th century The rectangular mirror plates within a frame carved with flower heads and foliate scrolls, surmounted by a removable crest.

By Joseph Norris, Amsterdam, ca. 1680 The case with arched pediment surmounted by three ball finials, with narrow glazed panels to the sides, on five bun feet, the black-velvet covered dial decorated with cast-silver cherub spandrels and a repoussé cartouche signed 'Josephus Norris Fecit Amsterdam', the silvered-brass chapter ring with Roman numerals, the dial is hinged to reveal the clockwork, the eight-day mechanism with verge escapement, the going and striking trains driven by a single barrel, the cord suspended pendulum between cycloidal cheeks.

By François Viger, the case and bracket by Balthazar Lieutaud, Paris, mid-18th century The case and bracket decorated with gilt foliate scrolls and painted flowers, both stamped by the maker 'B.LIEUTAUD', the enamel dial with Roman numerals, signed 'Viger A Paris', the back plate also signed, the square French mechanism with anchor escapement, striking once on the half hour and the whole hour in full, with cord suspended pendulum. Viger was active in Paris between 1745 and 1783, and often collaborated with the cabinet maker Lieutaud, who became a maître in 1749.

First quarter 19th century The vase-shaped case decorated with lion mask handles, palmettes, pine cone finials and surmounted by astronomical rings, on a square base, the enamel dial with Roman numerals, signed 'Alric à Toulouse', the eight-day mechanism striking once on the half hour and the whole hour in full, the pendulum lacking.

By Jan Gobels, Amsterdam, second quarter 18th century The case with oval lenticle, on bun feet, the hood with oak panelling to the front and openwork decoration to the sides, crowned by giltwood figures, the brass face with silver decorations representing the Four Seasons, the dial with Roman numerals, indicating the date, month, the lunar phase and tides, with a separate second hand, the eight-day mechanism with anchor escapement, striking on the half hour and whole hour in full on different bells.

Ca. 1840-50 The case decorated with a female figure clad in historical dress and holding a harp, the base decorated with foliate scrolls and masks, the enamel dial signed 'H. Hamacher à Amsterdam', the eight-day mechanism striking once on the half hour and the whole hour in full on a silver amalgamated bell, with cord suspended pendulum.

By John Drury, London, mid-18th century The case decorated with female foliate caryatids and foliate quarter frets, surmounted by five pine cone finials, with drop handles, the brass face with gilded spandrels, the silvered dial with Roman numerals and pendulum aperture, indicating the date, signed 'John Drury London', with separate dial for choice of four different tunes, with richly foliate-engraved backplate, the mechanism with verge escapement, quarter chiming on ten bells and striking on the whole hour in full on one bell, the pendulum adapted in the 19th century.

Mid-18th century Each with an iron pricket, above a leaf-carved stem decorated with mirrored glass panels, on three scrolled feet.

18th/19th century The rectangular plate within a moulded and foliate-carved frame.

By Thomas Thomsen, Amsterdam, mid-18th century The case and hood decorated with carved foliate scrolls, on ball and claw feet, the hood and dome with openwork decoration, the dome crowned by giltwood figures, the finely silvered dial with Roman numerals and engraved with allegories of the Four Seasons, indicating the date and the lunar phase, the eight-day mechanism with anchor escapement, striking on the half hour and the whole hour in full on separate bells.

Early 18th century The polychrome painted case crowned by three gilded frets (the front fret may be of later date) and surmounted by an Atlas figure, resting on a bracket with narrow backboard, the dial decorated with painted flowers and a horse-drawn carriage, with Roman numerals and an alarm disc, the early one-day mechanism with verge-escapement, the original balance wheel replaced by a later pendulum, striking once on the half hour and the whole hour in full, and with alarm on a single bell.

By J.N. Boyon, Amsterdam, late 18th century The case and hood decorated with carved portraits, garlands and vases, on ball and claw feet, with rare original clockmaker's label to the back of the door, the hood and dome with openwork decoration, the dome crowned by giltwood figures, the partly silvered face and silvered dial with Roman numerals, showing the date, day of the week and the lunar phase, signed 'J.N. Boyon Amsterdam', the eight-day mechanism with anchor escapement, quarter chiming and striking the half and whole hour in full on different bells, with special mechanism allowing the single hammer to strike on the two bells.

By Festeau-Le Jeune, Paris, mid-18th century The case decorated with foliate scrolls, two doves and a cherub, the enamel dial with Roman numerals, signed 'Festeau-Le Jeune A Paris', the backplate also signed, the semi-round French mechanism with a verge escapement, striking with a countwheel once on the half hour and the whole hour in full on a bell, with cord suspended pendulum.

By Joseph Martineau Sr., London, third quarter 18th century The case decorated with brass and calamander panels, the brass dial with silver decorations, indicating the day of the week and extra dials for 'Speelen/Niet Speelen' and 'Aria/Menuet' for choice of tunes, both the dial and backplate signed by the maker, with anchor escapement, the quarter chiming mechanism with three fusees and five bells.

Mid-18th century The yellow-painted case and bracket decorated overall with gilt foliate scrolls and painted rose branches, the enamel dial with Roman numerals, the mechanism with original verge escapement and grande sonnerie, striking every quarter on two bells and the whole hour in full on a large bell, with repetition mechanism, with cord suspended pendulum.

By Pieter Klok, Amsterdam, first half 18th century The case decorated with fruitwood inlay, on ball and claw feet, the hood and dome with openwork decoration, the dome crowned by giltwood figures, the brass face with silvered dial with Roman numerals, signed 'Pieter Klok Amsterdam', indicating the day of the week, month, and the lunar phase, with a separate seconds hand, above a later theatre depicting the Judgement of Paris, the eight-day mechanism with anchor escapement, striking on the half hour and the whole hour in full on separate bells, with a special mechanism allowing the single hammer to strike on the two bells.

First quarter 19th century Each with an urn shaped nozzle above a tapering stem, on a circular base.

By Laurens Duchesne, Amsterdam, mid-18th century The case decorated with fruitwood inlay, on scrolling feet, the hood and dome with openwork decoration, the dome crowned by giltwood figures, the gilt brass face with gilded spandrels representing the Four Seasons, the brass dial with Roman numerals, signed 'Lourens du Chesne Amsterdam', indicating the date and the lunar phase, with a separate seconds hand, the eight-day mechanism with anchor escapement, striking on the half hour and the whole hour in full, with functioning alarm mechanism.

By Gaultier, Paris, mid-18th century The case and bracket decorated with foliate scrolls, surmounted by a bird, the thirteen-piece enamel dial with Roman numerals, signed 'Gaultier A Paris', the backplate also signed, the eight-day mechanism with verge escapement, striking once on the half hour and the whole hour in full with a countwheel, with cord suspended pendulum.

Late 19th century The case decorated with a patinated bronze figure of a seated lady reading a book, on a partly fluted marble base, the enamel dial with blue Roman numerals, the eight-day mechanism with anchor escapement, striking once on the half hour and the whole hour in full, with spring suspended pendulum.

By Jerôme Martinot, Paris, ca. 1700 The case decorated throughout with inlaid brass foliate ornaments, mounted with bronze scrolls, a central mask and the figures of Venus and Cupid, the dome surmounted by a bronze figure of Fame, the brass dial with enamel chapters and Roman numerals, the back plate signed 'Jerôme Martinot A Paris', the original square French mechanism with verge escapement altered to Brocot, striking once on the half hour and the whole hour in full on a single bell.

Second half 19th century The mirror plate within a tall frame, crowned by foliate scrolls and a central cartouche.