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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.

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.

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. 

Pair of composite stone tulip form garden urn-shaped jardinieres on stand and a small composite stone sculpture of an urn bearing flowers and fruits (3) Condition ReportThe pair of jardinieres are 56cm high and the urn with fruit and flowers is 29cm high. Jardinieres - both are weathered. Both are sitting loosely on top of their bases are are not firmly attached. Both have some very minor chipping to rims and wear overall. The urn decorated with fruit is also weathered, it has some minor chipping to relief carved decoration. 

Ca. 1550 - 1070 BC. An amazing Egyptian stone head of a priestly figure with rounded features and a shaved head. The face consists of relief carved features, including almond shaped eyes, a small nose, and pursed lips. The ears, neck, and face are well defined with a polished surface. Sculptures of priests were crafted as votive offerings intended to be placed at temples or other places of worship. These figures symbolised the ongoing worship of the deity. For similar see: B.M. Bryan’s New Kingdom Sculpture, chapter 40, fig 40.2. and 40.15. Size: 60mm x 40mm; Weight: 145g Provenance: Private UK collection; Ex. M. H. collection, Kensington, acquired on the UK art market in the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

A GREENISH GREY STONE RELIEF DEPICTING DURGA MAHISASURAMARDINI, NEPAL, 18TH/19TH CENTURY of arched form, the multi-armed goddess with her feet on her vahana, the lion, and the decapitated body of the buffalo while she holds the demon which emerges from its body by the hair and stabbing him with her trident, wearing five-leaf crown and large disc earrings, the surrounding aureole with nine figures of the navadurgas, mounted, 21cmProvenance: The late Simon Digby (1932-2010)Published: Siudmak 2020, no.7In his catalogue, Siudmak notes that this piece bears a close affinity with a larger sculpture in situ in Patan, Nepal which he suggests may be the prototype for this smaller, portable version. See Nagar 1988, pl.76.

BERNARD MEADOWS (BRITISH 1915-2005) THREE SMALL RELIEFS: WATCHERS, 1966 (OPUS 86, BM 104) edition of 6, brass each relief: 28cm x 9.5cm (11in x 3 ¾in), overall: 38cm x 45.5cm (15in x 17 7/8in) Estate of the Artist;with Gimpel Fils, London. Exhibited:Gimpel Fils, London, Bernard Meadows: Recent Work, 25 April - 20 May 1967, cat. no. 13;New Art Centre, Roche Court, Shaping a Century: Works by Modern British Sculptors, 6 February - 27 March 2016;Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016. Literature:Bernard Meadows: Recent Works, Gimpel Fils Exhibition Catalogue, London, 1967, pl. 14, illustrated;Bowness, Alan, Bernard Meadows: Sculpture & Drawings, Lund Humphries, London, 1995, p. 90, pl. 72, illustrated (b&w;).

ITALIAN SCHOOL (18TH CENTURY) ENDYMION SLEEPING WITH HIS DOG BESIDE HIM Oil on canvas, en grisaille 163 x 112cm (64 x 44 in.) Provenance: Sir John Richardson (1924-2019), New York (photographed in situ in 'The Great Room' for New York Magazine, 18 February 2014)Literature: Apollonius of Rhodes, Argonautica H. S. Jones, A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome: The Sculptures of the Museo Capitolino, Oxford, 1912 D. E. Robinson, 'A Question of the Imprint of Wedgwood in the Longer Poems of Keats', Keats-Shelley Journal 16, 1967, 23-28 Though several varying myths regarding Endymion survive to us from antiquity, the present scene depicts him as a youthful shepherd asleep on Mount Latmus. One version of the myth sees Jupiter punish the youth for pursuing a romantic interest in Juno, however this present painting likely depicts the latter variant: Selene, Titan goddess of the moon so loved Endymion's beauty, she asked Jupiter to grant him eternal youth. Whatever the case, Jupiter granted Selene's wish, placing Endymion into an eternal sleep so Selene could visit him every night to admire his beauty.This elegantly painted grisaille, a technique that mimics bas-reliefs and sculpture, depicts Endymion sleeping with his dog beside him. It is based on a second-century A.D. Roman bas-relief currently housed in the Capitoline Museum in Rome. Seated on a rock asleep, the figure's long locks of gently curled hair frame his face. Content in his slumber, Endymion's right arm hangs tenderly down, whilst his left arm rests on his bent knee. Over his left arm and covering partially the rock on which he sleeps is an intricately draped chlamys. Appearing as if it could almost spring to life, a dog is depicted upright and animated, attempting to rouse Endymion from his peaceful, dormant state. Whilst for the most part, the painting appears to imitate its ancient counterpart, the facial features here suggest a more tranquil state of sleep when compared to the flat expression of the marble bas-relief.Artists such as the gem engraver Nathaniel Marchant and the ceramicist Josiah Wedgwood both produced Grand Tour artworks depicting the Capitoline Museum bas-relief. This painting reflects the renewed interest in classical art during the late eighteenth and early nineteenth centuries, drawing inspiration from Roman antiquities. It skilfully captures the realism of Imperial Roman sculpture, blending classical ideals with lifelike precision.This lot belonged to Sir John Richardson, art historian and author of the magisterial biography of Pablo Picasso, the first volume of which was published in 1991 and which won the Whitbread book of the year award. Sir John Richardson gave the eulogy at Andy Warhol's funeral. Condition Report: The canvas is lined and the paint surface is slightly dirty with a clear but uneven varnish. The broad weave of the canvas has resulted in a surface that is slightly pock-marked with pinprick losses scattered particularly in the upper half of the painting. There is visible retouching to a repaired horizontal tear in the upper left corner, approx. 17cm. long. There are also fine lines of visible retouching to the network of craquelure in the shadow behind Endymion. Inspection under ultraviolet light confirms the aforementioned retouching and further reveals retouching to a small horizontal tear, just above the centre of the lower margin, approx. 5 cm. long. Otherwise only a handful of spot retouchings are visible, for example above the figure's belly button and in the shoulder of the dog. The painting presents well in its current state and is in overall good condition.Condition Report Disclaimer

Chris KIRCHER (1963 -). Fischskulptur. Relief.25 x 81 x 3 cm. Fischskulptur aus Stahlschrott geschweißt. Wetterfeste Skulptur mit schöner und gleichmäßiger Patina. Zustand siehe Fotos. Versand kann organisiert werden.Chris KIRCHER (1963 -). Fish sculpture. Relief. 25 x 81 x 3 cm. Fish sculpture welded from scrap steel. Weatherproof sculpture with beautiful and even patina. See photos for condition. Shipping can be organised.

Relief sculpture of portrait head in sand stone on stand (H31cm W32cm)

§ Ursula Edgcumbe (1900-1985) Study for The Finding of Mosespencil and ink37.5 x 24.5cmProvenance:The collection of Quentin StevensonThe present work is a sketch used for the completion of a sculptural relief carved from Hopton Wood stone and currently held in a private collection. The Finding of Moses was Edgcumbe's first sculpture.

Simon Hepworth Nicholson (1934-1990), February, 1964, a cork relief sculpture, signed to the reverse58 x 49.5 x 15cmExhibited:St Ives, The Tate Gallery, 13 February - 14 April, 1985, cat. no.149New York, The John Guggenheim Memorial Foundation (details untraced)In good condition, a few paint splashes to case.

A substantial c19th French cast bronze figural plaque sculpture or relief in the c17th style depicting a battle scene with a rider on horseback with a sword amongst soldiers on foot measuring 36 cm by 47 cm in a original black ebonised frame, indistinctly signed to top left hand side the condition is excellent with little sign of use or wear, the bronze has lovely patina and is of substantial weight, the bronze measures 36 cm by 47 cm, with outer frame measuring 57 cm by 68 cm, an attractive decorative piece

Große Steckschalenplastik: Flamingo mit Schale. Rosenthal. Marke Zweigwerk Bahnhof Selb, 1928. Monogrammiert. Modell-Nr.: 326. Entwurf: um 1927. OPPEL, Gustav (1891 Volkstedt - 1978 Berlin) Flamingo (H 36 cm), Schale (Ø 30,5 cm). Auf einem Rundsockel mit durchbrochenem Rand stehender, sich das Gefieder putzender Flamingo sowie eine runde Schale mit goldstaffiertem Blütenreliefrand. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 17:33 Uhr (CET) Large plug-in bowl sculpture: Flamingo with bowl. Rosenthal. Mark Zweigwerk Bahnhof Selb, 1928. monogrammed. Model no.: 326. design: around 1927. OPPEL, Gustav (1891 Volkstedt - 1978 Berlin) Flamingo (H 36 cm), bowl (Ø 30.5 cm). A flamingo preening its feathers standing on a round base with openwork rim and a round bowl with gold-decorated floral relief rim. Call time 25 | Oct. 2024 | presumably 17:33 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A LOUIS XVI MARBLE AND ORMOLU MANTEL CLOCK BY JEAN SANGUINEDE (PARIS, LATE 18TH CENTURY) the two train movement with outside count wheel, silk 'tic tac' escarpment and striking on a bell, the 14cm enamel dial signed 'Sanguinede Paris' and 'Coteau', with Roman numerals at the hour marker, Arabic numerals at the quarter hours and Arabic numerals for the date dial, with gilt chased and pierced hands, the drum case is surmounted by an eagle cresting and flanked by two Sèvres style soft past figures after Louis-Simon Boizot's (1743-1809) “L’Étude”, the male 'Philosopher' and the female 'Learning', a panel beneath in bas relief depicting a sacrifice to Cupid in the manner of Claude Michel, called Clodion (1738-1814), the Carrera marble base inset with a central pierced ormolu frieze of opposing sphinx and two further classical masks, on turned and leaf cast bun feet, 54cm high x 60cm wide x 20cm deepProvenance: The Digby family.Jean Sanguinede is recorded in Watchmakers & Clockmakers of the world by G. H. Baille. It is noted he was active in Paris between 1777 and 1789. The dial is also signed by Joseph Coteau (1740-1801), one of the most important émailleurs of this period, who executed enamelled dials and decorative plaques for clocks of significance. The mounted figures are after those by Louis-Simon Boizot, sculpteur du roi, who became Director of Sculpture at Sèvres in 1773 until his death in 1809. He is renowned for producing some of the firm's most important recorded works whilst working against a backdrop of turmoil and upheaval.  A similar clock of the same period also mounted with Sèvres soft paste figures resides in the Royal Collection, formerly at Carlton House in the Prince of Wales's Dressing Room, RCIN 30118.

HENRY WILSON (1864-1934), W.E. MICKLEWRIGHT (MAKER) ARTS & CRAFTS 'ZODIAC' CHEST, CIRCA 1920 oak, with twelve relief carved Zodiac panels, each with inscription, cast brass lock plate 162cm wide, 84cm high, 60cm deep Provenance: W.E. Micklewright, Norton-sub-Hamdon, SomersetPurchased from his workshop by the father of the current owner. Literature: The Studio, vol. 86. 1923, p. 265 where a similar chest, exhibited at the British Institute of Industrial Art of the same year is illustrated.Note: The Arts & Crafts designer Henry Wilson trained initially as an architect under J. D. Sedding (1838-1891), who had himself been apprenticed to the leading Gothic revival architect George Edmund Street (1824-1881). Wilson continued his architectural commissions as his career progressed, but worked increasingly in metalwork, sculpture and jewellery. The Zodiac chest was illustrated in the Studio Magazine, Vol 86, 1923, and the relief carved panels are said to foreshadow the more sculptural bronzes Wilson designed in the final decade before his death in 1934.This chest was executed by W.E. Micklewright of Norton-sub-Hamdon, Somerset. Henry Wilson’s connection to the small village began in 1894 when he was engaged to design restoration work required for the parish church, St Mary the Virgin. Another chest by Micklewright still sits at the end of the church’s west aisle. The workshop responsible for completing Wilson’s church designs was Charles Trask & Sons, with whom Sedding and Wilson had collaborated from as early as 1869, on St Martin’s Church, Low Marple near Stockport. When Wilson first came to Norton-sub-Hamdon Micklewright was manager of the Charles Trask & Sons workshop, but by the 1920’s he owned and ran the premises.  A surviving W. E. Micklewright catalogue illustrates items including the zodiac chest, a clock, cabinet and bed. According to the account of Mr Reg. Sweet, an apprentice in the workshop from 1923-25, the business employed at least eight craftsmen carrying out work predominantly in oak and of a religious nature. Sweet recalls Micklewright’s perfectionist tendencies but lack of business sense, the latter a factor presumably behind the workshop’s premature closure in 1925. The current lot was purchased at this time and, until now, has not left Norton-sub-Hamdon.

AFTER BERTEL THORVALDSEN, 'AGES OF LOVE' NINTEENTH CENTURY SCULPTED RELIEF TERRACOTTA PLAQUE, depicting an ancient scene of Psyche distributing cupids amongst ages, modelled on an ancient Greek sculpture, '845' engraved to the reverse with well-worn remnants of sticker 'Thorwaldsen, Altar of Love,' and remnants of older mounting paper, length 33cm x height 14cm, painted sage background (1) (Condition Report: visible chips to the upper length of the frame, marks and slight scratches to the paintwork, relief appears complete)

A matte finish cerulean-blue with a smooth interior surface. A sculpture relief of an octopus clings to the underside of the bowl. Dimensions: 10"L x 9.75"W x 4.25"HCondition: Age related wear.

A crucifix, bronze sculpture, gilt bronze base and cross en relief with beaded friezes, French, 19th C., missing one of the screws that support the halo, wear to the gilt, Dim. - (total) 86 x 22,5 x 15,5 cm

An angel, gilt bronze sculpture en relief, decoration set with amethysts and chrysolites (chrysoberyls) in different cuts, French, 19th C. (2nd half), small restoration, one wing tip broken, other wing dewelding, wear to the gilt, Dim. - 54,5 x 16,5 x 16,5 cm

Our Lady of The Immaculate Conception on cherubs, gilt and polychrome wood sculpture, glass eyes, silver crescent and crown en relief, carved, marbled and gilt wooden pedestal, Portuguese, 18th C. (2nd half), minor fault on a finge, silver without marks, pursuant to Decreto-Lei nº 120-2017, of September 15th – art. 2nd, no. 2, paragraph c), Dim. - (escultura com peanha) 46 cm

Splendid larger-than-life size high relief sculpture of a Recumbent made with bonded bronze, a medium that American Contemporary artist Bill Mack has mastered for his depictions of erotic women. Made in the small edition of twenty-five, Mack used a cold cast method of bronze powder with resin bonders that results in a pure bronze surface. Mack patinates the nude with a skin smooth bronze finish that contrasts with the rugged tool marks that surrounds her. Signature carved on upper right: Bill Mack. Edition number in pen on upper right: XVI/XXV. Artist: Bill Mack (American b. 1949)Issued: c. 1990Dimensions: 68"L x 10"W x 48"HEdition Number: XVI/XXV (16 of 25)Country of Origin: United StatesCondition: Age related wear.

MUYLAERT MONIQUE (° 1946)20th Cent. Belgian ceramic relief sculpture - signed Monique MuylaertMUYLAERT MONIQUE (° 1946) (BE) reliëfsculptuur in keramiek met een abstracte barokke compositie - 24 x 24 getekend (ook op verso)

In the manner of Bitossi, Italy - a vintage 20th century tin aquamarine glazed terracotta Etruscan horse head sculpture. The head with scrolled in relief motifs throughout and weathered details.Measures approx. 42cm x 12cm x 25cm.

ANTHONY PEARSON (AMERICAN B. 1969) UNTITLED (POUR ARRANGEMENT) 2008 Bronze sculpture with silver nitrate patina, base, pedestal, two framed solarized silver gelatin photographs Height inc. pedestal, base and bronze 144cm (56½in.), dimensions of framed photographs, each 42 x 35.5cm (16.5 x 14in.)Provenance: Marianne Boesky Gallery, New York Acquired from the above in 2008Working in his native Los Angeles, Anthony Pearson's contemplative, understated practice traverses several media. He has been the subject of solo shows at Contemporary Art Museum, St. Louis, and Midway Contemporary Art, Minneapolis; his work is in the permanent collections of the Hammer Museum and the Art Institute of Chicago. Allowing him to combine various techniques and materials, Pearson's 'arrangements' make for engaging juxtapositions of forms. Several such works share the specific hybrid configuration at hand - a sculpture flanked by two photographs - forming a contemporary garniture of sorts. Pearson calls attention to the materiality of his creation: the unyielding lines of the picture frames throw the uneven, oozing metal sculpture into sharp relief. Like the poured bronze, the solarised photographs toe the line between controlled and arbitrary processes, such as Pearson's carefully incised lines which are subjected to overexposure naturally creating a random pattern and effect  Condition Report: Mould to one of the silver gelatin photographs, mount and backboard. Surface dirt throughout bronze, base and pedestal.   Condition Report Disclaimer

19th century Bronze Sculpture curved panel, Depicting raised relief Greek figures. [13.3x18x9.5cm]

A reconstituted stone sculpture in the form of a relief panel depicting a kneeling maiden drinking from a goblet,89cm high

*John Maltby [1936 - 2020], a stoneware sculpture The Ancient King, the large visage sporting a single ear ring and decorated in relief with a pack of hunting hounds, on metal stand, captioned, signed and dated 2012 to the underside, 45cm high.

Anonymous, bronze sculpture of a kingfisher with a fish in its beak, sitting on a glass block with etched floral decor and layered glass relief over it, resting entirely on a bronze-colored iron tooled stand, standing on 4 legs, 168 cm high, 57 cm wide, upper part 10 cm deep, legs 60 cm deep (glued)

Bernard Meadows, British 1915-2005 - Fish Relief, opus 19, 1955; bronze, from an edition of 6 plus 1 A/C, signed with monogram lower right and with indistinct foundry stamp lower left,  39.5 x 57.5 cm (ARR) Provenance: with Gimpel Fils, London (label attached to the reverse of the frame); Miss D. D. Campbell Salmon, purchased c.1967 (according to the inscribed label attached to the reverse of the frame) Literature: Alan Bowness, 'Bernard Meadows: Sculpture and Drawings', The Henry Moore Foundation in association with Lund Humphries, London, 1995, p.138, illus. p.139 BM35 Note: the present work is one of a number of reliefs the artist made in the 1950s, evoking the appearance of fossilised and paleolithic forms. As an assistant to Henry Moore in the 1940s, Meadows turned to animal forms in his sculpture to avoid being compared to his teacher, and other reliefs evoke his popular subjects of birds and crabs. A series of these reliefs 'Four Small Reliefs on Cock Theme, 1952' is now in the collection of Birkenhead Art Gallery. These works were made following Meadows inclusion in the Venice Biennale in 1952, alongside Geoffrey Clarke, Lynn Chadwick and Kenneth Armitage. 

ARTHUS BERTRAND: A GOLD AND CULTURED PEARL ROSARYThe cultured pearls interspersed by gold beads and rondelles, leading to a circular gold plaque depicting in relief the portrait of Virgin Mary, suspending a similarly-set pierced baptismal cross, in 18K gold, French assay marks, signed Arthus Bertrand, length 47cm (approx. length of necklace (no clasp): 67cmFor over 200 years, Maison Arthus Bertrand has been known for its exceptional craftsmanship in jewellery, passed down through six generations of the same family. Founded in 1803 by Arthus Claude Bertrand, the company initially published travel accounts funded by the Napoleonic Empire, gaining recognition for its detailed work. Located on Rue d’Hautefeuille in Paris, it became renowned for its creative excellence and scholarly publications, eventually becoming the official publisher for the French Navy’s geographic society.A significant turning point came when Arthus-Claude Bertrand married the daughter of Michel-Ange Marion, leading to a merger with Maison Marion, known for its embroidery, insignia, military flags, and Legions of Honour. This merger shifted the focus entirely to jewellery and insignia. Over generations, the Maison expanded its expertise, using techniques like bas-relief sculpture, stamping, grand feu enamelling, and engraving. In 1937, the launch of its first jewellery collection, featuring religious medallions and avant-garde pieces, marked a pivotal moment.Under the creative direction of Emmanuel Aubry in 2016, and later Camille Toupet, Arthus Bertrand embraced contemporary jewellery design while honouring its heritage. Toupet's innovative approach introduced fresh designs, such as the ribbed grosgrain texture of the Ruban collection and the laurel leaves of the Gloria Etoilée collection. The Maison continued to innovate with vibrant enamelled medallions and the refined Royale collection. Arthus Bertrand’s appeal lies in blending historical elements with modern elegance, resulting in sophisticated and feminine creations that resonate with contemporary lifestyles.Once mainly seen in religious settings, rosaries have now become fashionable. Designers and style icons have embraced the rosary's intricate beauty and symbolism, incorporating them into modern outfits. This trend blends Gothic and Renaissance influences, making rosary jewellery a meaningful and stylish accessory. Rosary necklaces have evolved from tools for prayer and meditation to fashionable jewellery pieces. While they still represent faith and reflection, their versatile designs make them suitable for occasions like baptisms, confirmations, weddings, or birthdays. Modern rosary necklaces serve as stylish reminders of spiritual commitment, with various designs, metals, and gemstones allowing for subtle self-expression. This evolution has integrated the rosary into contemporary fashion, broadening its appeal and gently challenging traditional views of religious accessories in everyday style. Condition Report: Pearls: of white tint with pink and green overtones, high lustreCircular clasp: with personal inscription: ‘14 juin 2009, Lara Poupée, Mamie’ located on the reverse with signature Arthus BertrandNormal sign of wear, overall in good conditionTotal gross weight approx. 36.2g

Derek Carruthers (1935-2021) - Kinetic sculpture: Relief, fibreglass resin, wood, paint and mirrors, signed and dated April 1966 on reverse, 128 x 129cm "[1964] - Intrigued by the possibilities of casting forms in fibreglass / resin, I began to use sheets of latex stretched over formers to produce perfect algebraic curves in three dimensions from which plaster moulds could be made. The process was central to most of my work for the next 15 years"

2nd-3rd century A.D.. From a colossal relief, depicting a life-size head of a goddess or an Amazon with a smooth reverse; pronounced lips and wide brow; the hair arranged in waves leaving the ears partially uncovered, secured with a taenia; mounted on a custom-made display stand. Cf. Bonanno, A., Roman relief portraiture to Septimius Severus, Oxford, 1976, pls.294-295, 306, for similar portrait relief in style, from the Arch of Severus at Leptis Magna. 11.9 kg total, 32 cm including stand (12 1/2 in.). The style is akin to the sculptures of the Severan Age with a naturalistic treatment of the hair, and a more restrained use of the drill. The sculpture displays the same characteristic oval broad face with fleshy round cheeks, widely arched brow and big eyes of the portraits of Julia Domna. The alternative identification of the head as an Amazon can be deduced from the taenia and the details of the tear ducts, linked to a possible representation of a combat scene in which an Amazon suffers in agony after receiving mortal wounds.From an English private collection, 1970s-late 1990s. English private collection. 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 number no.12163-218598

Late 2nd-early 3rd century A.D.. Modelled naturalistically in the round in an advancing pose with face, muzzle and tooth detailing within the open mouth, the tufts of the animal's mature mane individually rendered; filling hole on the back; the mouth open acting as a spout; North African workmanship; mounted on a custom-made display stand. Cf. Richter, G.M.A., Animals in Greek Sculpture, Oxford, 1930, pp.3ff; Toynbee, J.M.C., Tierwelt der Antike, Mainz-Rhine, 1983, pp.54ff.; Padgett, J.M. (ed.), Roman Sculpture in the Art Museum Princeton University, Princeton, 2001, p.257, no.97; Liverani, P., Spinola, G., Vaticano, La Sala degli animali nel Museo Pio-Clementino, City of Vatican, 2003. 1.5 kg total, 20.5 cm high including stand (8 in.). The lion was famously featured in many ancient myths, perhaps the most famous being that of Hercules (Herakles) slaying the Nemean lion for his first labour, but it was also linked with the cult of the goddess Cybele, where it is usually represented sculptured in relief on either side of her throne.with Sotheby’s London, 9 December 1994, no.221. Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by copies of relevant Sotheby's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11797-206532. (For this specific lot, 5% import VAT is applicable on the hammer price.)

Mid 20th Century A.D. or Earlier. With drum-shaped head and tapering upper body, incised circular eyes and slit mouth; diagonal line to the chest indicating a cloak; band of high-relief triangular panels to the lower body; mounted on a wooden plaque; from Indonesia. 1.16 kg total, 21 cm high including stand (8 1/4 in.).Ex Welsh country estate, 1960s-1970s. Acquired from Mark Davis of Chepstow, Monmouthshire, Wales, UK. From the 30-year-old sculpture collection of N. Churchill, Pembrokeshire, South-West Wales, UK. Property of Mr A.B., an American collector. [No Reserve]

Sculpture of Saint John the Baptist as a child bas-relief in plaster of Paris. Buyer collects

Exquisite two short-handled vase, sculpted by Salvador Debon and decorated by Vincent Navarro. The vase features a high relief scene of a Japanese figures in a garden. Incredible details on the floral patterns on the kimonos and delicate blossomed flowers. Lladro backstamp. Sculpture and decorator signed. Numbered 590. A round wooden base adorned with a Lladro brass plaque is included: 8.5"W x 2.75"H. Certificate of Authenticity included. Artist: Salvador Debon and Vincent NavarroIssued: 1988 - 1989Dimensions: 9.5"L x 9.25"W x 19.25"HEdition Number: 590Manufacturer: LladroCountry of Origin: SpainCondition: Age related wear.

WW1 French Bronze Sculpture of Artillery Team: Hollow heavy bronze relief sculpture of early French uniformed gun team with inscription dated March 1915 and signed , size 27 x 36 .

A large bespoke white painted hand carved wood relief wall hanging sculpture plaque of galloping horses. The sculpture depicting horses within a naturalistic ground. Fitted with pair of wall hanging mounts. All painted in white. Measures approx. 31cm x 150cm x 12cm.

Ellen Mary Rope, an Arts and Crafts relief moulded plaque, Periwinkle, modelled as a putto amongt the named flower, signed with monogram, 12.5cm x 9cmNote: Rope previously worked for Della Robbia pottery in Birkenhead, having studied sculpture at the Slade School of Art

Basalt carved Buddha head with a wooden pedestal in the style of Borobudur.Borobudur is a 9th-century Mahayana Buddhist temple and is the largest Buddhist temple in the world. It is located in Central Java, Indonesia. The building is decorated with 2,672 relief panels and originally had 504 Buddha statues. Of these 504 Buddha statues, around 300 are damaged (most headless), and the rest of the heads have fallen into private and public collections around the world.(Incl Stand) Height: 26 1/2 in x width: 9 1/2 in x depth: 10 1/2 in. Gross weight of lot: 78 lbs.Condition: There are chips and small losses along the neck/base of the head. There is a small chip along the apex of the bun. A few minor chips along the edges. Some dust gathered in the recessed areas of the sculpture. Some light wear to the wooden base.

Denis Mitchell (British, 1912-1993)Carnstabba signed with initials, titled and dated 'CARNSTABBA/1966/DAM' (to slate verso)slate68 x 25.5cm (26 3/4 x 10 1/16in).Footnotes:ProvenanceWith Flowers East, LondonExhibitedBath, Festival Gallery, Denis Mitchell Sculptures 1950-1978, April 1978, no. 70Swansea, Glynn Vivian Art Gallery, Festival Exhibition of Sculpture by Denis Mitchell, 6 October-3 November 1979, no. 61, illustratedNewlyn, Newlyn Art Gallery, Denis Mitchell Sculpture & Drawings, 1-27 November 1985, no. 22, illustratedLondon, Crane Kalman Gallery, Denis Mitchell: Selection of Sculptures and Reliefs, 9 October-1 November 1986, no. 30 (as Constabba)St. Ives, Penwith Galleries, Denis Mitchell: Sculptor, 30 June-1 August 1992, no. 66, illustratedLondon, Flowers East, Denis Mitchell, 1993, no. 62Swansea, Glynn Vivian Art Gallery, Denis Mitchell Sculpture, 26 March-19 June 1994, no. 32London, Flowers Central, Denis Mitchell, 4-28 July 2007, no. 10 Most of these slate reliefs were completed in the early 1960s and were not titled, however Carnstabba (1966) is the only relief to be given a place name title. Carnstabba Hill sits behind St Ives, in between Halsetown and Polmanter.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Ca. 300 BC - AD 100 A South Arabian architectural sculpture with a bull carved in high relief. The head has been carved into a piece of marble with a long groove that ends precisely in the middle of the bull's forehead. It could also serve as a decorative element for a fountain. For similar see: Sotheby's Ancient Sculptures and Works of Art, Part I (7 December 2021), Lot 16. Size: 380mm x 205mm; Weight: 11.91kg Provenance: From the collection of a London gentleman; formerly acquired in the early 2000s in France; previously in 1970s European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

SEVEN BOXED PREDATOR PLAYSETS, to include a Predator 2 Stealth Exclusive Micro Bust Ltd, Edition no. 241 of 500, a Predator Defeated Micro Bust Ltd. Edition no. 700 of 2500, a Predator Unmasked Micro Bust Ltd. Edition no. 140 of 3500, a Predator 2 Elder Mini Bust Ltd, Edition no. 1349 of 4000, a Predator 2 Triumphant Micro Statue Ltd. Edition no. 2948 of 3000, a Predator 2 Wall Sculpture Ltd Edition no. 129 of 1000, and a Predator Wall Relief by X-Plus, all appear in new condition however contents not checked for completion, cardboard boxed in good condition with minor wear and dust

A rare pair of late 16th century carved alabaster tomb figures or 'Kneelers' depicting a nobleman and a ladyProbably English, circa 1590Their upturned faces above elaborate ruffs, the nobleman clad in armour, with flowing hair and short beard, his hands clasped in prayer, the lady with serene expression wearing a cap and clad in a wide farthingale skirt holding an open book, the gentleman, 43cm high, 19cm wide, 26cm deep, the lady, 40cm high, 24cm wide, 26cm deep (2 )Footnotes:Perhaps one of the most characteristic types of English ecclesiastical sculpture in the late 16th and early 17th century, 'Kneeler's' were tomb memorials usually modelled as figures of kneeling and praying knights or merchants and ladies or their family members.The tradition of these distinctive figures in England and Wales is probably derived from the custom of 'Pleurants' or 'Weepers' prevalent in the Burgundy region of France. Originating in the earlier Medieval period, figures at first tended to be modelled in flat relief and were often displayed under the framework of decorative canopies. However by the mid-15th century they had become three dimensional sculpted forms carved in marble, alabaster or stone rather than cast in bronze with the male and female subjects either depicted singularly or extending to the surviving family and children praying for their departed loved ones.Standard figural depictions from this later period are typically modelled freestanding, kneeling on cushions or sometimes before prayer desks clad in elaborate costumes often with exaggerated ruff collars. Male figures depicted as merchants were usually clad in long flowing or cleric-like robes whereas those depicted as knights were usually fully or semi-clad in plate armour sometimes with cloaks. Female figures were usually depicted wearing a cap or hat and later in the 16th century their farthingale skirts and sometimes their sleeves became exaggeratedly wider. However both sets of figures would always be depicted with a full round or fan-like half ruffs. Male and female figures depicting husband and wife were often positioned to face each and children might also be depicted in miniature either as a separate group or with the figures themselves, the boys with their father and the girls with their mother. As with much early sculpture, figures would have originally been painted in bright colours although this polychrome decoration, often retouched over time usually has mostly or completely worn away. In addition figures may also have also been subject to the ravages of time and accidental damage with many often becoming detached from their original placings so that today these examples are near impossible to identify whether they depict the deceased or their family members. For a pair of comparable carved stone 'kneeler' tomb figures dated to the early 17th century and possibly of Cornish origin, see Dreweattts, Newbury, Berkshire, Robert Kime: The Personal Collection (Day 1), Contents from Warwick Square, London, 4th October 2023, lot 278.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A small bronze sculpture in the form of a deity in an upright position, crowned by a tall pointed headdress with six arms holding small flowers. The body is decorated with incised and relief details. Size: 7.4 x 1.9 x 4 cm

BAGA SERPENT Republic of Guinea Wood and pigments Bansonyi/a-Mantsho-na-Tshol features a vertically dynamic, undulating form. The serpent rises from a cylindrical base, with a bulbous convex abdomen below a concave, elegantly tapered neck topped by a protruding, crescent lotus-shaped head. It is adorned with a relief triangular design and exhibits an exceptionally fine aged patina with red, white, and dark brown pigments. H.201cm NOTE The spiritual force represented by this a-Mantsho-ña-Tshol (master of medicine) holds a supreme position in Baga society. The primary physical manifestation of a-Mantsho-ña-Tshol is a brilliantly coloured, larger-than-life aquatic serpent resembling a boa constrictor. The sinuous curves and undulating contours of this elegant sculpture evoke the power, elusive grace, and flexibility of the Baga spiritual entity. From base to summit, the broad vertical column rises, bends to one side, ascends at an angle, and culminates in a bold head with two round eyes. A chain of lozenges, incised and enhanced with applied colour, runs up the length, with the interstices filled in red and white pigments. The geometric forms, pierced and linear decorations, horizontal orientation, and brilliantly coloured surfaces reflect the early Sudanic heritage of the Baga, as is evident in this artefact.

19th Cent. Chinese Qing period sculpture ivory with a nice patina and in the shape of a pumpkin, crowned with a branch with fruits and with a hollow at the front and back with a finely detailed scene in high relief with horsemen and figures || Negentiende eeuwse Chinese Qing - sculptuur in ivoor met mooie patine in de vorm van een pompoen, bekroond met tak met vruchten en met aan de voor- en achterzijde telkens een uitholling met fijn uitgewerkt tafereel in hoog-reliëf met ruiters en personages - hoogte : 35 cm - gewicht : 4170 gram - ca 1870/80

Guido METSERS (1940- ) Sculpture of a woman in relief, signed on the base. - Weight: 5.18 kg - Shipping unavailable - Region: Holland - Sizes: H 280MM X L 180MM - At first glance: good condition

Adam Neate - A 3D Bas relief sculpture painting. Circa 2021.6/15Back panel  - Yves Klein blue flocked mounted  acrylicFace - Resin mould containing Irridescent filingsTorso - Bio-filament and acrylic paint. Red acrylic with spray fade hand finishing carried out by the artist. Signed and numbered by the artist.  Tray framed by Fluorescent Smogg with certificate of authenticity.61.5cm x 43.5cm with frame.

Henry Moore O.M., C.H. (British, 1898-1986)Animal Head signed and numbered 'Moore 9/10' (on the base)bronze with a green patina53 cm. (20 7/8 in.) highConceived in 1956Footnotes:ProvenancePrivate Collection, Paris, where acquired by the present ownerExhibitedLondon, Marlborough Fine Art, Henry Moore, 85th Birthday Exhibition, 15 June-13 August 1983, cat.no.20 (another cast)LiteratureHerbert Read, Henry Moore: A Study of his Life and Work, Thames and Hudson, London, 1965, p.226, cat.no.211 (ill.b&w)John Hedgecoe and Henry Moore, Henry Spencer Moore, Thomas Nelson and Sons, London, 1968, p.265 (ill.b&w)Alan Bowness (ed.), Henry Moore: Complete Sculpture Volume 3, 1955-1964, Lund Humphries, London, 1986, p.25, cat.no.396 (ill.b&w)Alan G. Wilkinson, Henry Moore Remembered, Key Porter Books, Toronto, 1988, p.166, cat.no.116John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p.220, cat.no.362 (ill.b&w)David Mitchinson (ed.), Celebrating Moore: Works from the Collection of The Henry Moore Foundation, Lund Humphries, London, 2006, p.250, cat.no.178 (col.ill.)As Reinhard Rudolph asserts, Henry Moore's sculptural principles dictated a three-dimensionality (David Mitchinson (ed.), Celebrating Moore: Works from the Collection of The Henry Moore Foundation, Lund Humphries, London, 2006). Paramount to each conception was a front, a back and two sides. This concept seems familiar enough; after all, the fundamental difference between sculpture and painting or drawing is surely the occupation of genuine space, rather than the illusion of it. But for Moore, spatial depth wasn't enough – he wanted to place his work wholly in the real world, where the viewer could walk around it and take in all angles and perspectives. Rudolph cites three exceptions to this creed: Three Forms Relief, Wall Relief (see the following lot), and the present work, Animal Head, all executed in 1955. Quite what prompted this rather dramatic departure from precedent at this particular time is unclear, but the result for Animal Head is a decisive direction, an active move towards the viewer that is unachievable in more four-sided works. It has been suggested that Moore was inspired by the gargoyles that jut out from the cathedrals of Paris' Île de la Cité, the spell-binding Sainte-Chapelle and, of course, the Notre Dame. Animal Head certainly evokes these symbols of the Gothic movement to an extent, but it has a uniqueness and crypticity that opaques any attempt to isolate a single inspiration. This air of mystery, brought about in part by the asymmetry of the work, seems to evolve as you cross from left to right. From the left-hand profile, the head feels distinctly pre-historic, with the angular protrusion of the cheekbone and the shape of the snout evoking a distant, now-extinct beast. Moore engaged with history passionately, as is hinted at by the previous lot, and a nod towards creatures of the past thus seems in character. But as you move to the smoother right-hand profile, the head feels more equine. The mystery starts to dissipate, giving way to the familiarity of a horse leaning over a stable door, mouth gently open as if to receive food from a doting owner. The hollow eyehole that runs through the bronze adds to the fluctuating atmosphere as you round the piece. The light coming through from the other side, creating a mystical, timeless feel in profile, is eclipsed by the dark of the tunnel as you slowly move round, bringing the Animal Head to life vividly. An interesting comparison is drawn to Moore's work of 1980, Horse's Head, some twenty-five years after the present work. While less titularly cryptic, and thus with less of an air of mystery, Horse's Head arguably has less of the distinctive, familiar feel that Animal Head captures from the right-hand profile. It is this dynamic between the familiarity from some angles and the mystery from others that intrigues so tantalisingly in Animal Head. This is energised by a dynamism and decisiveness emerging from a single point of origin, an unseen rear, that is so rare in Moore's sculpture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com