We found 1041 price guide item(s) matching your search

Old Chinese polychrome porcelain vase, decorated in relief with immortals, tiger and dragon and other oriental figures together with a modern sculptureYellow vase in good order with small firing crack to neck and fritting around foot rim

Bernard Meadows, British 1915-2005 - Relief: Watchers, 1966; bronze, from an edition of 6, H52.5 x W41.5 x D8.5 cm (including board) (ARR)Note: titled, dated and numbered to the label on the reverse 'Relief: Watchers Opus 78, 1966 1/6'Provenance:with Gimpel Fils, London, GF1504 (according to the label on the reverse) Literature: Alan Bowness, 'Bernard Meadows: Sculpture and Drawings', The Henry Moore Foundation in association with Lund Humphries, London, 1995, BM99 p.144, (plaster version illus. p.144) Note:a sculpture by the same name from 1979 is in the collection of the Ashmolean Museum, Oxford. As an assistant to Henry Moore in the 1940s, Meadows turned to animal and biomorphic forms in his sculpture to avoid being compared to his teacher, and other reliefs evoke his popular subjects of birds and crabs. Meadows was included in the seminal British pavilion exhibition at the Venice Biennale in 1952, alongside Geoffrey Clarke, Lynn Chadwick and Kenneth Armitage. 

BRITISH SCHOOL (20TH CENTURY) FISH Art glass relief sculpture, on glass mount, 50 x 80cm (19.5 x 31.5") overall, with bespoke hanging rods Condition Report:Presents in sound condition, insofar as one can say

ERIC GILL (BRITISH 1882-1940) STUDY FOR STONE RELIEF WALL DECORATION AT 202-4 SLOANE STREET, 1939 initialled, dated and inscribed by the artist, pencil on paper 13.8cm x 31.5cm (5 ½in x 12 ½in) Literature: Collins J. Eric Gill: The Sculpture: A Catalogue Raisonné, Herbert Press, London, 1998, p. 220

The Last Supper.833 silver wall plaqueLow relief sculpture depicting Leonardo da Vinci's Last SupperFrame with relief decoration of foliage elementsPorto hallmark (1938-1984) and maker's mark of Adão Alves Rodrigues (reg. 1956)35×47 cm1435 g

Pair of ornate brass candlesticks with decorative relief detailing, accompanied by a bronze-style sculpture of a mother reading with her child.

SABAEAN ALABASTER HEAD SOUTHERN ARABIA, 3RD – 1ST CENTURY B.C. alabaster, carved in high-relief, the subject likely male, with ridge nose, subtly upturned mouth and broad brow, raised on a modern bespoke mount, also accompanied by its original mid-century wooden base 23cm tall Private collection, United Kingdom, the older wooden base is suggestive of an acquisition prior to the mid-20th century With its cubist aesthetic, the present piece is an example of the enigmatic sculpture produced by the wealthy south Arabian kingdoms at the turn of the first millennium B.C. With the facial features stripped to the essence of form, it served as a votive object, and was intended to fit within a small rectangular niche within a ritual site.For similar please see; The British Museum, London, accession number 141546.

* Nicolini (Giovanni, 1872-1956) Ebbro (Drunk), bronze sculpture of a nymph and satyr reclining on a rock, signed G. Nicolini, with foundry plaque 'T Laguna / Napoli', 40 cm high, 63 cm wide, 34cm deepQTY: (1)NOTE:Provenance: The artist by descent to his widow, Marcella Colignon-Nicolini; her sale, to Pietro Palmieri, 28 January 1958; by descent to his daughter, Alarico Palmieri; acquired by the present owner in 1999.Giovanni Nicolini (1872-1956) was born in Palermo and studied under the Italian sculptor Vincenzo Ragusa at the Museo Artistico Industriale. Nicolini later moved to Rome to work for the naturalist sculptor Giulio Monteverde (1837-1917), where he won the national prize with his relief of Le Marie al Sepolcro and the sculptures La Meditazione and Il Risveglio. His oeuvre ranges from literary to historical and mythological subjects. He is best known for his sculptures in Rome, such as La Calabria (1907) and Trionfo Politico (1911). Nicolini exhibited a work titled Satiro e Ninfa in San Francisco in 1915, which may refer to the present work. See A. Panzetta, Nuovo Dizionario degli Scultori Italiani dell'Ottocento e del Primo Novecento, volume 2, pp. 651-652.

* Baskin (Leonard, 1922-2000). Thistle, 1961, circular bronze relief, brown patina, with handwritten label label to verso 'LEONARD BASKIN 1961 Given to Pat Milne-Henderson', 23 cm high (9 ins high)QTY: (1)NOTE:Literature: Irma B. Jaffe, The Sculpture of Leonard Baskin, The Viking Press, New York, 1980, pg. 212.Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent.

* Baskin (Leonard, 1922-2000). Thistle (in memory of Louis Black), 1959, bronze relief, brown patina, a landscape depiction of various flowers and grasses, height 21.5 cm, width 44.5 cmQTY: (1)NOTE:Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent.Literature: Irma B. Jaffe, The Sculpture of Leonard Baskin, Viking Press, New York, 1980, pg. 212, illustrated pg. 161.

* Baskin (Leonard, 1922-2000). Birdman, 1961, bronze relief, reddish-brown patina, edition of 6, 35.5 cm high (14 ins high)QTY: (1)NOTE:Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent.Literature: Irma B. Jaffe, The Sculpture of Leonard Baskin, The Viking Press, New York, 1980, pg. 213.

James Havard Thomas RWA, British, 1854-1921, a marble portrait relief of a lady, dated 1898, signed J HAVARD THOMAS.Sc MDCCCXCVIII, mounted in a marble frame, 34cm diameter overallNote: James Havard Thomas exhibited at the Royal Academy, The British Institute and the Paris Salon during his career as a sculptor. He became Professor of Sculpture at the Slade School of Art in 1915.  

6th-8th century A.D. Fragment of a sculpture representing the draped bust of an Apostle, making a blessing gesture with his right hand, and holding a scroll in his left hand, part of the neck visible; mounted on a custom-made display stand. Cf. for similar iconography Burckhardt, J., Die Zeit Constantins des Grossen, Leipzig, 1898, pls.68, 69, 88, 90, 91, and especially 201, for similar images; Comstock, M.B. (ed.), Romans and Barbarians, Boston, 1976, p.206, no.246 (ivory plaque with Achilles on Skyros). 3.83 kg total, 25 cm including stand (9 7/8 in.). Mr F.D. collection, acquired on the European art market, 1975 to present.The image and gesture is visible on many early Christian sarcophagi of the Constantinian era, representing the deceased with his wife. The bas-relief in question could represent an apostle from a scene representing the twelve disciples with Jesus.

A stunning polychrome and gilded wooden relief sculpture from the early 18th century, attributed to a follower of the esteemed Austrian Baroque sculptor Thomas Schwanthaler (1634-1707). This masterfully carved devotional piece depicts the Madonna and Child, surrounded by cherubic angels amidst swirling clouds, evoking a celestial vision of divine grace. The Madonna's flowing robes, executed with deep folds and dynamic movement, reflect the opulent Baroque style, characterized by its theatricality and emotive intensity.Schwanthaler, one of the most significant sculptors of the Austrian Baroque period, was part of a lineage of sculptors in Ried im Innkreis, Austria, where his family workshop operated for generations. The Schwanthaler family, deeply rooted in South German and Austrian Baroque traditions, was instrumental in developing religious sculpture that merged the grandiosity of Italian High Baroque with the more expressive and folk-oriented characteristics of Bavarian and Austrian Baroque schools. His works, often commissioned for ecclesiastical settings, exhibit a dramatic interplay of light and shadow (chiaroscuro), theatrical gestures, and heightened emotional realism, making them deeply resonant for worshippers.The sculpture's exuberant composition and lifelike expressions are hallmarks of the Baroque aesthetic, which sought to engage the viewer emotionally and spiritually. The dynamic arrangement of figures, cascading drapery, and billowing clouds create a sense of movement and fluidity, essential to Baroque religious art's goal of transcending static representation. The Madonna's slightly tilted head and contemplative expression, alongside the cherubs' tender, playful interactions, enhance the narrative immediacy-a defining trait of Central European Baroque sculpture. These elements reflect the broader artistic ambitions of the period: to make sacred figures more relatable, engaging the faithful in a heightened spiritual experience.The piece likely served as a devotional or altarpiece relief, meant to inspire veneration through its richly painted and gilded surfaces, which shimmer under candlelight-a technique frequently employed in Austrian Baroque altarpieces to heighten the divine presence.Artist: Follower of Thomas Schwanthaler (Austrian, 1634-1707 )Issued: Circa 1710-1720Dimensions: 24"L x 14"W x 52"HCountry of Origin: AustriaProvenance: Xaver Scheidwimmer OHG, Kunsthandel, in Munich; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1964. Condition: Age related wear.

A masterfully carved and polychrome-painted wooden sculpture of the Madonna and Child, likely from the Spanish Colonial Baroque tradition, dating to the 17th or 18th century. This exceptional devotional piece reflects the artistic synthesis of European Baroque influences with indigenous craftsmanship, a defining characteristic of religious art produced in Spain's overseas territories, particularly in Latin America and the Philippines.The Spanish Colonial period (16th-19th century) was marked by an extensive effort by the Spanish Crown and the Catholic Church to spread Christianity throughout the New World and other colonies. Art played a crucial role in this mission, with workshops in Mexico, Peru, the Philippines, and other colonial centers producing elaborate religious sculptures under the guidance of Spanish-trained artisans. This Madonna and Child exemplifies this period's distinct fusion of Spanish artistic traditions with local materials, techniques, and iconographic adaptations.The Madonna is depicted in Majesty, standing gracefully while holding the Christ Child, who raises a blessing hand and holds a globe, symbolizing divine sovereignty over the world. The figures wear richly detailed vestments with floral and foliate motifs, enhanced with gilded embellishments, a hallmark of Spanish Colonial ecclesiastical art. The deep, vibrant polychromy was achieved using cedar or similar softwoods, which were commonly used in colonial religious sculptures for their workability and resistance to insects. The carving style, with its shallow relief details and soft modeling of facial features, suggests a colonial workshop influenced by Spanish Sevillian and Granadan Schools but executed by local artists adapting European techniques.The stylistic influences of the Spanish Baroque, particularly the Sevillian School, are evident in the delicate facial modeling and the dramatic use of color and gold leaf. The naturalistic yet idealized facial expressions recall the work of Juan Martínez Montañés (1568-1649) and other Spanish masters, whose influence extended to colonial artists. However, the folk-influenced ornamentation and stylized facial proportions indicate the hand of a colonial artist.The reverse of the sculpture retains original decorative painting, an unusual and valuable feature that underscores its intended placement in a processional or altar setting, where it would be viewed from multiple angles. The presence of mounting holes in the base suggests that it was originally part of a larger retablo (altarpiece) or an ecclesiastical display.Artist: Spanish Colonial TraditionIssued: Mid 17th- Early 18th centuryDimensions: 13"L x 8.50"W x 27"HCountry of Origin: SpainProvenance: Henri Lesieur; Bass Museum of Art, Miami Beach, FL 1996. Condition: Age related wear.

A Bidjogo "Kaissi" maskIn the stylised form of seacreatures and Buffalo, these headdress masks (Kaissi) are from the Bidjogo people.This impressive mask is an elegantly stylized representation of the head of a sawfish, used in the initiation ceremonies142 cmLiteratureIn Marie-Louise Bastin (1984: fig. 97) these masks were seen as "the dangerous ones" such as the sawfish, the shark, the hippopotamus and the bull and only worn by strong and mature men. The masks were symbolic of the need to dominate the bestial side living in every non-initiated being.The extreme stylization of the sawfish's head represented with a simple triangle, the use of colored pigments and low relief sculpture allows us to see the wild animal.

Two earthenware bowls, c.2006, by Liz Burgess, comprising two bowls modelled as abstracted faces in relief, one in grey tones, the other in yellow and blue, largest 43cm diameter, together with an earthenware hanging sculpture of two faces,30cm wide11cm deep30cm high (3)Condition ReportOverall all in good order. The bowls with some rubbing to the decoration and nibbles to the footrims commensurate with use. The hanging sculpture with rubbing to the decoration and nibbles to the top edge.

Ca. AD 300 - 400.A schist stone sculpture depicting a standing Buddha. The Buddha is portrayed wearing a simple monk's robe with incised folds, and his feet are bare. Though the right hand, now lost, would have been in the Abhaya mudra, a gesture symbolizing fearlessness and reassurance. The Buddha stands atop an integral plinth adorned with two lotus flowers in relief. The Buddha's head features rounded contours and extended earlobes, symbolizing his princely origins before renouncing worldly possessions. The face is finely carved, showing a small mouth, broad nose, and heavy-lidded almond-shaped eyes under delineated eyebrows. In the centre of the forehead is the urna, a symbol denoting divine wisdom. The Buddha's hair is depicted in wavy locks over a prominent ushnisha and the head is backed by a large halo, representing his aura of enlightenment.For similar see: The Metropolitan Museum of Art, Accession Number: 67.154.5.Size: 335mm x 115mm; weight 3.64kgProvenance: Private UK collection; from an old British collection formed pre-2000.

An Academic study of two relief sculpture heads signed lower right and stamped Rome 77cm x 64cm

A 19th century tribal West African Benin bronze fish sculpture. The fish depicting with open elongated mouth, circular recurring motif scales, fin atop & mounted on four cylindrical feet. Unmarked.The 'Benin Bronzes' are a group of sculptures made up of elaborately decorated cast relief plaques, commemorative heads, animal and human figures. From the 1500s onwards they were created in the West African Kingdom of Benin to honour the Oba (king) in Benin City and celebrate their power and success. Many pieces were also commissioned specifically for the ancestral altars of past Obas, Queen Mothers and to validate the accession of a new Oba. Measuring approx. 47cm x 23cm.

A finely crafted Austin Sculptures relief depicting a bearded man in prayer, his head bowed and hands pressed together. The sculpture features a rough-hewn, stone-like texture with detailed facial features and drapery. Known for their high-quality sculptural designs, Austin Sculptures produced collectible and decorative art pieces from durable bonded materials. This piece embodies a serene and contemplative aesthetic, making it an excellent addition to religious or meditative art collections. Markings or signatures, if present, should be noted for authentication. Issued: c. 1980Dimensions: 13"HCondition: Age related wear.

A large bespoke painted hand carved wood wall hanging sculpture plaque, depicting Tibetan warriors in naturalistic relief, 198x39cm.

An Etruscan nenfro head of a female, mid-2nd century BCE, with thick hair brushed away from the face and the remnants of large disc earrings,22cm wide27cm deep33cm highProvenance: Thomas Coke, 1st Earl of Leicester (1697-1759) collection, housed at Holkham Hall; and thence by descent.Literature: E Angelicoussis, 'The Holkham Collection of Classical Sculptures', Mainz, 2001, no. 49;Forschungsarchiv für antike Plastik 2665/6-9. Arachne no. 7479.Etruscan stone sculpture was relatively rare and was usually reserved for funerary use. Human figures and animals are known from cinerary urns and grave markers. For a female figure from a high relief made of nenfro, see 'Die Etrusker und Europa', Berlin, 1992, p. 150, no. 216. For a grave marker in the form of a male bust, see Dr F Buranelli, 'The Etruscans - Legacy of a Lost Civilization', Memphis, 1992, p.198, no. 178.For a similar treatment of the hair, see Christie's, 'Ancient Artifacts: Property from the Schwitter-Lagutt Collection', Basel, 3 July 2024, lot 152.Condition ReportThe head is heavily weathered. Damage to nose. Large cementicous fill at the back of head/neck - possibly needs securing or stablising. Dirt to surface. Please see additional images.

Gold and red lacquered wooden sculpture of oriental lady, 24 cm high and blanc de chine porcelain bowl with relief decoration (chip)

Chinese carved & gilded wood relief panel, 33cms x 16cms, and a similar sculpture of warriors & horses

ASCRIBED TO FRANCOIS 'IL FIAMMINGO' DUQUESNOY (1597-1643) An important ivory plaque boldly carved in relief with children and dog at play, 11.3cm x 13.4cmOutstandingly high artistic, cultural or historical value certificate issued no. 5PUX1A8Provenance: Handwritten label pasted verso states purchased Autumn 1892, by repute purchased by the present vendor's uncle at auction in the 1950's, thence by family descent.Literature: François Duquesnoy or Frans Duquesnoy (12 January 1597 - 18 July 1643) was a Flemish Baroque sculptor who was active in Rome for most of his career, where he was known as Il Fiammingo ("the Fleming"). His idealised representations represented a quieter and more restrained version of Italian baroque sculpture, and are often contrasted with the more dramatic and emotional character of Bernini's works, while his style shows a great affinity to Algardi's sculptures. He was especially renowned for his plump putti, of which this plaque is a superb example.

Vintage silver Flemish figural sculpture in the form of an angel. Detailed in high relief.Provenance: Hofgalerie, Vienna, Austria; Private Minnesota Collection.Height: 5 1/2 in x width: 3 1/2 in x depth: 3 1/4 in.Condition: There are no bends, breaks, or losses. Accretions to the underside of the marble base.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted aluminum 'Structurist Relief' sculpture titled "Untitled (#6)" depicting a three-dimensional geometric abstract composition in bright colors against a mint-green background, 1983-85. Signed, dated, and titled along the verso. With a custom moving crate. With a Menconi & Schoelkopf, New York, gallery label affixed to the crate.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs similar to the artwork offered here including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Height: 42 1/2 in x width: 31 3/4 in x depth: 11 in.Condition: The colors are bold and bright. There are no major losses, bends, or repairs. There is one minute paint loss to the upper-most purple square.

Charming collection of 5 polar bears, each crafted with unique designs and materials. Includes 1 Mr. Sandman real sand sculpture of a medium polar bear with a hand carved texture, featuring the Mr. Sandman backstamp, marked Made in Canada. 1 Artesania Rinconada ceramic polar bear (79), a molded piece depicting a seated bear. 1 resin piece of two cubs with a high relief fur design. 1 resin figure depicting a polar mom with two cubs playing. And 1 translucent polar bear carved from stone. Tallest figurine dimensions: 4.75"L x 2.5"W x 4.75"H. Artist: J&J CarbajalesDimensions: See DescriptionManufacturer: Mr. Sandman and Artesania RinconadaCountry of Origin: Canada & UruguayCondition: Age related wear.

Giovanni Schoeman (South African 1940-1980) a mid century/brutalist composition relief moulded wall sculpture, of oblong form, bearing moulded signature lower left corner, 122cm x 40cm overall. Condition Report: Felt on the rear/plaster interior/acrylic outer shell. 

A selection of three relief sculpture panels including a plaster case relief depicting a polar bear (l. 35cm x h. 17cm x d. 5.5cm) together with a plaster cast of a seated woman (w. 25.5cm x h. 36cm x w. 2.5cm) and a wooden painted relief door panel with a bell and leaf design (l. 28.5cm x h. 27cm x d. 1cm) (3)

ELIZABETH LEWIS. WELSH 20TH CENTURY A sculpture relief in metal and resin. Signed verso. 18" x 24"

A NORTH ITALIAN BRONZE BUST OF A YOUNG MAN IN ARMOUR PROBABLY LATE 17TH/ EARLY 18TH CENTURY dark reddish brown/black patina, incised MPI and cast 1701 to the interior, on a turned walnut socle Bust 13.4cm high; 18.5cm high overall COMPARATIVE LITERATURE:L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 570-571, figs, 627 and 629.J. Warren, Medieval and Renasissance Sculpture - A Catalogue of the Collection in the Ashmolean Museum, Oxford, Oxford, 2014, p. 258, fig. 121.New York, Salander O'Reilly Galleries, Giambologna: An Exhibition of Sculpture by the Master and His Followers from The Collection of Michael Hall, Esq., 6 March - 4 April 1998, C. Avery ed., pp. 158-9, no. 57 (as Hubert Gerhard).M. Schwartz, ed., European Sculpture from the Abbott Guggenheim Collection, New York, 2008, pp. 64-65, no. 26. Note: Examples of this bronze bust have been variously attributed to Hubert Gerhard, Ferdinando Tacca and more generically to the north Italian school of the mid-16th century (see New York, Schwartz and Warren, locs. cit., respectively). Close comparisons may also be made to signed works by the Venetian artist Tiziano Aspetti, whose signed bronze of St Anthony in the Santo, Padua, has similar facial features. The soldier to the left of Aspetti's bronze relief of the Martyrdom of St Daniel also displays the same facial type, curling hair and breastplate centred by a grotesque mask seen on the bust offered here (for both works see Planiscig, loc. cit.). For a comparable example see Christies New York, The Abbot Guggenheim collection, 28 January 2015, lot 41. 

A SMALL COLLECTION OF ORIENTAL ITEMS ETC, comprising a miniature table screen with four panels, approximate height 17cm, a cloisonne bowl, miniature baluster vase, trinket dish with cover and trinket box with hinged lid, painted enamel vases and trinket box, resin dragon sculpture and resin relief moulded bowl, a cork diorama, resin relief moulded vase approximate height 39cm and a trinket dish marked foreign to the base

Peter Laszlo Peri (Hungarian-British, 1899-1967)Untitled sculpture of male figureMixed media comprising concrete, resin & otherSigned 'Peri' to corner Peri’s artistic journey from Expressionism through Dada to Constructivism is comparable with the trajectory of his friend and countryman Laszlo Moholy-Nagy with whom Peri went on to hold two exhibitions in 1922 and 1923 at Herwarth Walden’s Der Sturm Gallery. Reviewing the first of these exhibitions Lissitzky wrote "Against the background of jellyfish-like German non-objective painting, the clear geometry of Moholy and Peri stands out in relief. They are changing over from compositions on canvas to constructions in space and material". Measures approx. 28cm tall x 33cm x 31cm.Legs snapped with loose broken pieces.

An 18th century glass portrait miniature in relief of a gentleman by James Tassie of Glasgow, framed & glazed, overall 9.5 by 11cms.Condition ReportSigned to base of sculpture but very difficult to make out.

High-relief sculpture made of pieces of spelter welded to form the upper torso of a figure with a weary expression filled with pathos. The upper back of the hallow relief includes an horizontal bar for hanging. Issued: 20th centuryDimensions: 19"L x 7"W x 30"HCondition: Age related wear.

GIOVACCHINO BELLI - ACT. 1788-1822, Cross-reliquary of Santo Lenho with Pietà, cross in gilt bronze and black patina, metal applications, 889/1000 silver halo and friezes en relief depicting scenes from the Passion of Christ, Rome (1815-1822), missing the lower part of the spear, missing the relic and the glass that would cover its receptacle, minor faults to the gilt, other minor defects, mark of the Reverend Apostolic Chamber Nº 168 (pontifical tiara and crossed keys) for objects of medium size and with fine silver of 10 ounces and 16 coins (889/1000), in use between 1815 and 1870 (BULGARI 1958, BULGARI CALISSONI 1987 ), goldsmith's mark No. 242 (the initials G and B within a rhombus) by Giovacchino Belli (act. 1788-1822), without Portuguese marks pursuant to Decreto-Lei No. 120/2017, of 15 September, art. 2, no. 2, subparagraph c). Notes: It is a monumental staurotheca, a reliquary-cross of the Holy Cross, perfectly suited to the neoclassical taste that dominated the Roman panorama in the early years of the 18th century. Composed of a plinth, with a rectangular section, a base, with an oval section, on which the figure of the Pietà rests, the piece naturally gives prominence to the cross (in an obvious allusion to the provenance of the relic), which is also assumed to be the centre of the iconographic program, relating, as would be expected, to the Passion of Christ. This develops in a continuous narrative, in the band that runs through the oval section element, in the three medallions on the plinth (with an obvious classical appearance) and also in the three tondi visible at the top of the arms of the cross. The theme of Passion is further emphasized by the presence of the spear and the stick with the sponge soaked in vinegar, disposed in X. The Passion theme is further emphasized by the presence of the spear and the stick with the sponge soaked in vinegar, arranged in a quote. At the intersection of the two arms of the cross, the receptacle that originally contained the relic of Saint Lenho can be identified. At the base of the cross, where the skull usually appears, in reference to Mount Golgotha, where the Crucifixion of Christ took place, the three-dimensional presence of the Pietà, according to Michelangelo's sculptural model, invited the faithful, when venerating the relic, to reflect preferably on Piety, personified in the figure of the Virgin with her dead son in her arms. Giovacchino Belli was, since the last decade of the 18th century, the representative of a family that owned an important silversmith workshop operating in Rome since his father, Vicenzo Belli (1710-1777), from his native Turin, had established himself in the pontifical city. (c. 1741). In Rome, Vincenzo Belli was the patriarch of a family that counted successive generations of silversmiths, whose workshop remained in full operation during the 18th and 19th centuries. The son, Giovacchino (or Gioacchino, 1756-1822), author of this staurotheque, who submitted himself to the necessary exam with a view to confirming the paternal patent, succeeded in managing the workshop, which, at the time of Vincenzo's death, had approximately twenty workers. Giovacchino was succeeded by his son Pietro (1780-1828), and then by his grandchildren Vincenzo (activ. 1828-1859) and Antonio (activ. 1860-1867), ensuring continuous activity of the old family workshop until at least 1867 (BULGARI 1958, BULGARI CALISSONI 1987, VALE 2019) Among the Belli clientele are some of the most important families of the Roman aristocracy of the 17th and 18th centuries – as the Colonna, Barberini and Odescalchi – and naturally also numerous ecclesiastics, members of the Curia Pontifical. Among the Belli's illustrious clientele, it is worth mentioning the King of Portugal D. João V (1689-1750), for whom Vincenzo created a magnificent set of ewer and basin, in the context of the silver collection in the chapel of S. João Baptista (Museu de São Roque, Lisbon, inv. MPr27 and MPr28) (VALE 2016). The present reliquary of thee Holy Cross, integrating the figuration of the Pietà, is considered a work of particular interest, perfectly suited to the neoclassical taste of the time, but continuing the relevance of the sculptural component, which characterizes Roman silver from the 18th century. This is certainly not unrelated to the fact that its author was trained in an environment in which the importance of sculpture, within the scope of goldsmithing, was highly recognized. From a compositional point of view, the piece is constructed with the cross at its center, as occurs in this type of object, which particularly became widespread in Europe following the crusades and the consequent arrival of several relics of the Holy Cross. Some particularly exquisite examples date back to the early 1800s, made in the Roman environment, which clearly influenced this staurotheque, namely the cross-reliquary (dated 1803), coming from another important family workshop, then under the direction of Giuseppe Valadier ( 1762-1839), which is preserved in the Basilica of Santa Croce in Gerusalemme in Rome. Teresa Leonor Vale Lisboa, 21-11-2024 BIBLIOGRAFIA BULGARI 1958 BULGARI, Costantino - Argentieri, Gemmari e Orafi d’Italia. Vol. I, Roma: Lorenzo del Turco, 1958 BULGARI CALISSONI 1987 BULGARI CALISSONI, Anna - Argentieri, Gemmari e Orafi di Roma. Roma: Fratelli Palombi Editori, 1987 VALE 2016 VALE, Teresa Leonor M. - Ourivesaria Barroca Italiana em Portugal: presença e influência. Lisboa: Scribe, 2016, pp. 157-158, 611 VALE 2019 VALE, Teresa Leonor M. - “Vincenzo Belli (1710-1787): percurso de um ourives: um turinês em Roma que trabalhou para Lisboa”, in MOTA, Isabel Ferreira da, SPANTIGATI, Carla Enrica (coord.) - “Tanto Ella Assume Novitate al Fianco”. Lisboa, Turim e o intercâmbio cultural do século das luzes à Europa pós-napoleónica. Coimbra: Imprensa da Universidade de Coimbra, 2019, pp. 189-221. Cabral Moncada Leilões would like to thank Doctor Teresa Leonor Vale for studying the work and preparing this text., Dim. - (total) 69,5 cm

Ca. 100 BC - AD 100. A carved from limestone, a high-relief stela featuring a prominent abstract face with a slender triangular nose, deep-set ovoid eyes beneath thin brows, a broad forehead, rounded cheekbones, a tapered mandible, and a petite, expressionless mouth. Russet-red pigment colours the face as well as the lateral plaque sides and the chalky white material within the eyes suggest they were once inlaid with attractive fragments of colourful stones. Shallow grooves on the verso indicate how the plaque would have been suspended, perhaps on a slanted surface. For similar see: Sotheby's, Ancient Sculpture and Works of Art, Part I, 7 December 2021, Lot 1. Size: 360mm x 200mm; Weight: 11.02kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

A 19th / early 20th century gilt metal relief sculpture depicting King Henri IV of France on horseback, black background, in ornate gilt frame, glazed, approx. 19cm wide (frame), sculpture approx. 8.3cm wide, later script written to reverse stating "Richardo Lo Gibba, April 10th 1923", "Henri IV of France". Further details: generally good; slightest loss to gilding and general wear.

Schoony (British 1974-), 'The Butterfly Kiss (Black), 2017, spray painted fibre glass wall relief life cast sculpture, signed, dated, and numbered from an edition of 25 verso; panel: 60 x 120 x 9cmARR panel: 60 x 120 x 9cm

FRAGMENT EN RELIEF REPRÉSENTANT BOUDDHA EN SCHISTE GRISAncienne région du Gandhara, IIIe/IVe siècle A GREY SCHIST RELIEF OF THE BUDDHAAncient region of Gandhara, 3rd/4th centurySeated on a platform raised on a thick petal lotus rising from the swirling ocean, the future Buddha with his hands joined in act of teaching, vitarka mudra. His sanghati robes hang in heavy pleats covering his whole body and his hair arranged in rippling locks over the ushnisha. Standing to his left is an unidentified bodhisattva and two diminutive attendant figures at the base and by the Buddha's nimbus. 57.1 x 34.3 cm (22 1/2 x 13 1/2 in)Footnotes:犍陀羅 三/四世紀 片岩佛陀像PROPERTY OF A GREEK COLLECTOR希臘藏家收藏Provenance:A Private New York Collection.Bonhams New York, 19 March 2012, lot 1006.A Greek collector. 來源紐約私人收藏紐約邦翰斯，2012年3月19日，編號1006希臘藏家收藏Compare with two relief panels in the British Museum collection, illustrated in Zwalf, A Catalogue of the Gandhara Sculpture in the British Museum, London, 1996, pp. 70-1 nos. 111 & 112.For further information on this lot please visit Bonhams.com

PICHIAVO (Fondé en 2007) Mythological shipping container relief, 2020. Sculpture en polyester et résine sablée avec des pigments. Signé par l’artiste et numéroté sur 15 exemplaires. 37 x 32 x 13, 9 cm Polyester and resin sculpture with white pigment, calcium carbonate shipping container and sandblasted finishing. Hand-finished, signed and numbered by PichiAvo. Edition of /15. Each edition presents unique differences.

A studio glass vase, with relief nailhead decoration, graduated blue to green colour, h.32cm, together with three further coloured glass sculptures (4)Grazing to tips of teardrop sculptures.Abstract sculpture with nibble chips to lop and base.Scratches to base.

A Hellenistic marble funerary stele for Theogeneia, daughter of ArtemidorosCirca 2nd-1st Century B.C.78cm high, 47.5cm wide, 20.5cm deepFootnotes:Provenance:Anonymous sale; Sotheby's, London, 17-18 July 1985, lot 334.Private collection, acquired from the above sale; and thence by descent to the present owner.During the 2nd-1st Centuries B.C. large numbers of figurative relief stelae were produced in the Eastern Mediterranean and give a good indication of daily life and society. They depict prosperous citizens, such as the woman in the above stele, shown sitting on a throne-like seat flanked by diminutive servants. For a discussion of the types of stelae from this region and how they indicate the rise of individual prosperity and cities, see B.S. Ridgway, Hellenistic Sculpture II, Wisconsin, 2000, pp. 189-229.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

LALIQUE: PLIQUE-À-JOUR ENAMEL, PEARL AND IVORY BROOCH, CIRCA 1900-1903The ivory plaque carved in high relief to depict the heads of three female profiles, the gold quatrefoil frame of sinuous stems with aubergine enamel, issuing green plique-à-jour ivy leaves, within ivy leaf relief, engraved to the reverse, mounted in gold, signed Lalique, pearls untested, two leaves with enamel loss, length 6.8cmFootnotes:René Lalique's relationship with sculpture was deeply intertwined with his mastery of glass and ornamentation. His designs often featured sculptural forms, blending fluid, organic shapes, echoing the artistic depth of sculpture, exploring themes of nature, mythology, and human emotion.In the mid-1890s Lalique began working with Sarah Bernhardt, an actress and sculptor, whose flamboyant personality acted as a catalyst on Lalique's fertile imagination. Whilst she is recognised as an enthusiastic and loyal benefactor of Lalique, she has not been credited in her capacity as a sculptress, in which she undoubtedly advised him.In the late 1890s, Lalique designed a series of jewellery and objets d'art inspired by the sculpture of Auguste Rodin. Lalique's sensitivity to form allowed him to translate Rodin's bold, emotive works into delicate glass and ivory examples, retaining the essence of the sculptural forms while introducing his own innovative techniques. One notable example of their creative collaboration was Lalique's interpretation of Rodin's famous sensual sculpture The Kiss (1882); which he reimagined more than once and in various forms. See Becker, V. The Jewellery of René Lalique, pl. 28-30.In this exquisite jewel, Lalique uses the smoothness of ivory, with its subtle translucency and notable resemblance to marble, to evoke softness and sensuality of skin, thus demonstrating Lalique's skill as a craftsman and his ability to evoke the same emotional resonance as sculpture, albeit in a more intimate and wearable form.For similar carved ivory jewels by Lalique, see Becker, V. The Jewellery of René Lalique, pl. 20-22, 24-30, 108, 112.Accompanied by a certificate from The Department for Environment, Food and Rural Affairs, stating that this pre-1918 item is of outstandingly high artistic, cultural or historical value. Certificate number: 5XJZIAKN, dated 31st October 2024.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

Ethel Bower (later Lady Ethel Alice Chivers Harris), British, 1867-1933, a plaster portrait relief of John Roddam Spencer Stanhope, dated 1906, inscribed JOHN · RODDAM · SPENCER STANHOPE · A·D · MCMVI, in walnut frame, plaster - 13.5cm diameter; frame - 21.7cm diameter; together with Portrait Medals of a Generation, Modelled by Ethel A.C. Harris, limited edition, no.85/250, London: Spink and Son, Ltd., 1928 (2)Footnotes: Note: Lady Ethel Alice Chivers Harris (neé Bower) (1867-1933) was the daughter of Edward Chivers Bower JP (1827-1896) of Broxholme, Scarborough, Yorkshire. She reportedly studied at the National Art Training School (Royal College of Art) in the 1890s and moved to London after the death of her father in 1896 and began exhibiting sculpture as Ethel Bower. She married barrister Henry Percy Harris in 1908, and continued to practice as an artist, first as Ethel A.C. Harris and then as Lady Harris, when her husband was knighted in 1917. She principally worked as a medallist, exhibiting over seventy medals and medallions at the Royal Academy between 1901-22. John Roddam Spencer Stanhope (1829-1908) was an English artist associated with Edward Burne-Jones and George Frederic Watts and often regarded as a second-wave pre-Raphaelite. He was the uncle and teacher of artist Evelyn de Morgan (1855-1919). 

Aloysius O'Kelly RHA (1853 - 1936) The Christening Party (1908) Oil on canvas, 68.6 x 91.4cm (27 x 36'') Signed and dated 1908 (lower right)Provenance: The Artist's family; With Gorry Gallery, Dublin 1981; Collection of the Hon. Francis D. Murnaghan Jr., thence by descentExhibition: Dublin, Gorry Gallery, February 1981, No. 13; Dublin, National Gallery of Ireland, The Irish Impressionists, 1984, No. 25.Literature: Niamh O’Sullivan, Gorry Gallery, An Exhibition and Sale of 18th - 21st Century Irish Paintings, 2024; O’Sullivan, Gorry Gallery, An Exhibition of 18th - 21st Century Irish Paintings & Sculpture, 2011; O’Sullivan, Aloysius O’Kelly: Art, Nation, Empire, Field Day, 2010; O’Sullivan Re-orientations: Aloysius O'Kelly: painting politics and popular culture, Hugh Lane Municipal Gallery of Modern Art, Dublin, 1999; Julian Campbell, The Irish Impressionists, National Gallery of Ireland,1984.In 1874, O’Kelly became one of the first Irish artists to study at the École des Beaux-Arts in Paris where he was admitted to the prestigious studio of Jean-Léon Gérome; separately he studied portraiture with Léon Bonnat; in addition, his early experiments in plein-air painting in Brittany were the foundations on which his work evolved.There is a striking stylistic cohesion between O’Kelly’s paintings set in Brittany in two phases, the late nineteenth century and the early decades of the twentieth century, but these converge in two almost identical paintings dated 1908 and 1909 called The Christening Party and L’auberge. By coincidence, both have come up for sale within a few months of each other. O’Kelly tended to date paintings destined for major exhibition venues such as the Royal Academy, the Royal Hibernian Academy and the Paris Salon. And indeed he did exhibit a painting in the Salon in 1909 called L’auberge. The Christening Party thus predates the all-but-identical L’auberge. One surmises that he intended this painting for the Salon, but found an early buyer, and so painted a second version for Paris the following year.The painting features a group of adults joyously holding their glasses of cider aloft. This version was given the title The Christening Party when it was exhibited in the Irish Impressionists exhibition in the National Gallery in 1984, although it not clear that it is indeed a christening, as the child must be about two-years of age, and the focus is more widely dispersed: the oval disposition is designed to lead the eye around the painting in an inclusive way.O’Kelly was the first Irish artist to discover Brittany in the 1870s and was influential in drawing other Irish artists such as Thomas Hovenden and Augustus Burke there. Moreover, in recognizing the historical, cultural and ethnic connections between Ireland and Brittany, O’Kelly was at pains to counter the negative stereotyping of marginalized people. The American critic, E.L. Wakeman noted that '[t]hrough the grime and slime of their hard cold lives a few things must stand luminously revealed …. the people of Ireland and those of Brittany are the closest of kin and from one common Celtic stock, the affection and family ties, and to neighbourhood and communal yearnings, find here universal expression to a degree that almost approaches pathos'. (Wakeman's Wanderings, Weekly Inter Ocean, 7 January 1890). Wakeman went on to cite their respective ‘love of and reverence for babies’, as shines through here. O’Kelly’s paintings of both Irish and Breton people insistently reflect a hard-working, healthy and dignified people, as projected here.O’Kelly moved around Brittany over more than a fifty-year period. From the distinctive clothes, the setting in this painting can be identified as the pays de Rosporden (around Concarneau and the Fôret de Fouesnant): the women wear white linen coiffes and wide collars, dark skirts, fitted bodices, embroidered waistcoats, and heavy wooden sabots; the men woollen jackets, waistcoats, bragoù-bras, black gaiters and felt broad-rimmed hats.The table and the rush-woven Breton chairs are timeless, but other aspects identify the painting as early twentieth century, notably the visible hair of the women (previously, no self-respecting girl would have herself painted with her hair even partially uncovered). Over time, O’Kelly’s Breton landscapes and seascapes became increasingly and iridescently impressionistic, while his interior scenes retained their structure and hark back to Dutch seventeenth-century interiors and, more contemporaneously, the work of American artist, Robert Wylie. Executed towards the end of the first decade of the twentieth century, the dark interior of The Christening Party, connects these paintings to a considerably earlier form of genre painting, characterized by academic draughtsmanship and conventional painting skills. Notwithstanding their archaism, the compression of so many figures in The Christening Party into such a confined space demanded considerable skill, in addition to which he countered the apparent informality of the figures by granting to each an individualised physiognomy. The loose yet controlled brushwork, broad values, and strong contrasts evident in the portraits are a testament to Bonnat's realist teaching.The treatment of the still life on the upper shelf verges on the semi abstract and contrast with the narrative details that include the man pouring the drink with his left hand on his companion's shoulder, the young girl wiping the bowl, the man lighting his pipe, the shadowy figure in the background squatting low to tap the cider.The painting is full of gesture and expression. Notwithstanding the dark interior, the play of light on form, on the bottles and glasses, on the rugged furniture, on the animated faces of the figures, is typical of O'Kelly, an artist who painted sometimes separately, sometimes coterminously tightly and precisely, and loosely and freely.Prof. Niamh O'Sullivan, October 2024 Condition Report: Very good overall condition Under UV inspection very minor florescence appears particularly in the figure, see images The frame with loss to the mid right as indicated in the catalogue image, other areas of the frame with cracking, splitting, evidence of old glue repairs and one section missing from the back of a piece of relief carving on the left hand side of the frame, see all images for further details

A wooden organic sculpture inlaid with a bronze medallion with relief of a beetle, h 24.5 cm (provenance; collection gallery Wiek XX, Bad Nieuweschans).

ITEM: Relief fragmentMATERIAL: MarbleCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 110 mm x 125 mm x 68 mmCONDITION: Good conditionPROVENANCE: Ex Portuguese private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman reliefs are an essential aspect of Roman art and architecture, known for their detailed and dynamic depictions of historical events, mythology, daily life, and portraits. These reliefs were commonly carved into marble, limestone, or other durable materials and adorned various structures such as altars, triumphal arches, sarcophagi, and public buildings. The use of relief sculpture allowed Roman artists to create intricate narratives and convey complex messages, serving both decorative and propagandistic purposes.One of the most famous examples of Roman reliefs is the frieze on the Ara Pacis, the Altar of Peace, dedicated in 9 BCE to commemorate Emperor Augustus's return from his campaigns in Gaul and Hispania. The reliefs on the Ara Pacis depict a procession of the imperial family, priests, and senators, capturing a moment of civic and religious harmony. The high level of detail, naturalistic figures, and dynamic composition reflect the Roman emphasis on realism and the importance of political propaganda. By illustrating Augustus's achievements and the prosperity of his reign, the reliefs reinforced the emperor's legitimacy and the ideals of peace and stability.Another significant example is the reliefs on the Column of Trajan, completed in 113 CE, which celebrate Emperor Trajan's victory in the Dacian Wars. The column's spiral relief narrates the entire campaign, from the army's departure to the final victory, with over 2,500 figures depicted in meticulous detail. These reliefs not only serve as a visual record of the military conquest but also emphasize the emperor's role as a strong and capable leader.

Putto mit Laute als Garten- oder ParkskulpturSteinguss. Vollplastische, dekorative Statue in der Tradition höfischer Rokoko-Skulpturen, der geschweifte Sockel mit floralem Relief. Ges.-H. 119 cm.A 19th/20th century German cast stone garden sculpture of a putto with lute.Deutsch. 19./20. Jh.

Leonard Baskin,  American 1922–2000 -  Isaac, 1958;  bronze relief, signed with monogram and with gallery stamp and dated 'Kennedy Galleries Inc. N.Y. 1958', H59 x 49 x D1 Provenance:  Laura Speiser;  Bonhams, New York, The Estate of Laura Speiser, 16th September 2010, lot 2135;  Pyms Gallery, London, purchased from the above  Literature:  Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.211, illus. p.191 Note: other editions of this relief are in the collections of Krannert Art Museum and the Elvehjem Arts Centre at the University of Wisconsin.  Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.

Leonard Baskin,  American 1922–2000 -  Thistle (In memory of Louis Black), 1959;  bronze relief, H21.5 x W44.5 x D0.3 cm  Provenance:  The Collection of Mary and Alan Hobart, Founders of Pyms Gallery, London  Literature:  Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.212, illus. p.161  Note:  other editions of this bronze are held by Smith College Museum of Art, Northampton. Louis Black was a friend and collector of books, prints and drawings, usually relating to the human figure and natural environment. Jaffe suggested the subject of this work is derived from the engravings of Durer.  Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.

Leonard Baskin,  American 1922–2000 -  Continuity, 1967;  bronze relief, signed and dated 'L. Baskin 67', H48.5 x W41 x D2.5 cm  Provenance:  Laura Speiser;  Bonhams, New York, The Estate of Laura Speiser, 16th September 2010, lot 2134;  Pyms Gallery, London  Literature:  Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.214, illus. p.190 Note: Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.

Leonard Baskin,  American 1922–2000 -  Dead Man, 1965;  bronze relief, signed and dated 'Baskin 1965', H42.2 x W60 x D0.9 cm Provenance:  Laura Speiser;  Bonhams, New York, The Estate of Laura Speiser, 16th September 2010, lot 2057;  Pyms Gallery, London  Literature:  Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.214  Note: Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.

2nd-3rd century A.D. Finely carved in hard white limestone; the facial features framed by swept-back locks of wavy hair enclosed by a loosely draped palla headdress held onto a low turban by a segmented diadem with high-relief ornament, with drop earrings at the sides; a necklace of graduated beads at the throat, soft fabric stola covering the chest and shoulders; the arched brows above large almond-shaped eyes with carefully worked pupils, small pert mouth with full lips, smooth cheeks and brow; unworked to the reverse; mounted on a custom-made stand. Cf. Michalowski, K., Palmyre, Fouilles Polonaises, 1960, Warszawa-Paris, 1962, fig.192; Muzeum Narodowe w Warszawie, Sztuka Palmyry (Art of Palmyra), Warszawa, 1986, pls.10,23; Fortin, M., Syrie, terre de civilisations, Québec, 1999, figs.336-337; Gabucci, A. (ed.), Zenobia, il sogno di una regina d'oriente, Milano, 2002, no.25 (for the typology of the portrait). 29.95 kg, 50 cm including stand (19 3/4 in.).[A video of this lot is available to view on Timeline Auctions Website]From a private UK collection, since at least 1971. Acquired from Rupert Wace Ancient Art Limited, Old Bond Street, London W1, UK, in 2001. From the private collection of Mr M.R. Davis, Bristol, UK. Accompanied by a copy of a stamped and signed Art Loss Register declaration dated 1st March 2001. Accompanied by a copy of a conservation report by restorer David Singleton dated 26th June 2001. Accompanied by a copy of the 23th February 2001 invoice (£34,000); a copy of the illustrated listing with reference number C230; plus communications regarding acquisition. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12339-224541.The sculpture is a good example of 2nd-3rd century A.D. Palmyrene female funerary portrait types. The amount of jewellery displayed in these portraits could be a direct reflection of the wealth of the family, and certainly reflected the jewellery possessed by the owner of the grave.

*** Please note, this drawing is sold unframed.Deare (John, 1759-1798) Design for a tomb monument, with tragic heroine, possibly Artemisia, wife of Mausolus, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Oct. 1787' in the roundel in the upper centre of the monument,  image 210 x 210 mm (8 1/4 x 8 1/4 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787Provenance:Rupert Gunnis (collector and historian of British sculpture, 1899-1965);Collection of John and Eileen HarrisLiterature: P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A BritishNeoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 37, illus. p. 110*** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold. Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life.'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty]. 

*** Please note, this drawing is sold unframed. Deare (John, 1759-1798) Design for a relief of Cupid and Psyche, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Sept. 1787', 195 x 255 mm (7 3/4 x 10 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787 Provenance: Valentine Lawless, Lord Cloncurry (1773-1853); then by descent; Anonymous sale; Collection of John and Eileen Harris Literature:  P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A British Neoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 22, illus. p. 115. *** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold.  Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life. 'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty]. 

Amalric WALTER (1870-1959) - Sculpture in pink and green glass paste in high relief depicting a young girl lying in the waves, signed. Normal wear - Weight: 2.45 kg - Shipping available - Region: France - Sizes: H 75MM X L 230MM

Pippa. An art pottery bowl decorated with relief scenic cottages, a further sculpture signed Ewenny, a monogrammed signed vase, four pieces by Cookie Scottorn pottery etc.