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A selection of four Chinese collectables; Bronze relief koi and floral design bowl, Plated relief cream jug detailed with dragon design handle and raised on three dragon head feet. Two cased coins and Triple dragon figural sculpture.

BERNARD MEADOWS (BRITISH 1915-2005) RELIEF: THE WATCHERS. 1966 (BM99) monogrammed (lower right), inscribed by Artist First idea for Molloy, Saml Beckett (to reverse), edition of 6 plus 1, bronze15 1/2 x 11 1/4 in/ 39.4 x 28.5 cm The Artist;Gimpel Fils, London. Exhibited: Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016. Literature:Bowness, Alan, Bernard Meadows: Sculpture and Drawings, Lund Humphries, London, 1995, p. 144, no.99 (plaster illustrated). In the 1960s, Meadows did not continue to plough the ‘Geometry of Fear’ furrow, much as perhaps his gallery and the market would have liked. Instead, like his contemporary Kenneth Armitage, he looked to find a new sculptural vocabulary that spoke to the nascent optimism of the 1960s. An element of joy returns. Sculptures such as Relief: The Watchers are classic Meadows of this period. Although superficially abstract, their strong anthropomorphism is clear, the rounded forms being heads (with eyes), although slippery enough to also connote bellies or even an entire body reduced to a singular form. This shifting nature of what the forms could be is enhanced by the smooth surfaces. In contrast to his 1950s sculpture, there are no jagged edges to arrest the eye, to turn you back on yourself. Instead, Meadows’ sculpture flows with you and the space surrounding it. And in this way his work returns to the conceptual world occupied by his former employer and mentor, Henry Moore.

Nick Deans (1950-1991) bronze relief sculpture, figures, signed with initials, on the bronze, 18cm high

SIR EDUARDO PAOLOZZI CBE RA (1924-2005) Eight element abstract relief sculpture, 30cm x 20cm overall

SIR EDUARDO PAOLOZZI CBE RA (1924-2005) Three element abstract relief sculpture, 36cm x 23cm overall

A striking Limited Edition Giuseppe Armani porcelain sculpture titled Discovery of America, number 443 of 2500, created for Florence Prestige. This elaborate bas-relief commemorates the 1492-1992 quincentennial of Christopher Columbus's discovery of the New World. The composition is designed as an open book, symbolizing the recorded history of the event. It features a God-like figure, draped in flowing robes, reaching out towards a youthful cherub, representing the new world's enlightenment. To the left, a majestic eagle spreads its wings, symbolizing power, vision, and destiny. The detailed sculptural elements, including the movement in the drapery, the textured eagle feathers, and the expressive figures, showcase Armani's masterful craftsmanship. Rendered in matte and glazed porcelain, this sculpture exhibits rich earthy tones and fine detailing. The back of the piece features ornamental scrollwork, further enhancing its historical and artistic appeal. It is mounted on a wooden base with a brass nameplate reading G. Armani with the Capodimonte mark on the back. The bottom bears the Florence Prestige mark and the edition number, confirming its authenticity.Issued: 20th centuryDimensions: 15"L x 11"HCountry of Origin: ItalyCondition: Age related wear.

Bernardo de Legarda (Quito, Ecuador, circa 1770 - 1773)‘Martyrdom of Saint Barbara’.Carved, polychromed and gilded wooden relief.35,5 x 27 x 3,5 cm.Wonderful relief, in which Legarda magnificently narrates the dramatic moment in which the saint is about to be beheaded, while a lightning bolt is about to fall on her executioner, killing him. Next to her is the tower in which her father, Dioscorus, had her locked up to protect her from being harassed by suitors. Before entering the tower the saint baptised herself in a pool. She escaped, but was arrested and brought before the judge Martinianus, who condemned her to death. In this relief, the tower, according to tradition, has three windows to recall the words of the saint, who stated that the light had entered her through the three windows of the Father, the Son and the Holy Spirit.The relief is an example of absolute mastery as well as virtuosity in polychromy. The characters are dressed in rich and elaborate robes in vivid colours, with polychrome brushwork of flowers enriched with motifs painted in gold. It is ornamented down to the smallest detail. It is presented in its original carved, wooden, niche type frame, which even has its inner edge decorated with a border of flowers.Bernardo Legada, an enormously talented sculptor and painter, stands out as one of the most important artists of the Viceroyalty of Ecuador.The magnitude, variety and aesthetic quality of his work is unparalleled in the entire viceregal period. Legarda, while consolidating the validity of the Quito School as a differentiated style, is a pioneer in the vision of the artist as an individual.When we speak of this Master we usually think only of his free-standing sculptures, but Legarda is perhaps one of the few artists of the South American region who inherited the multidisciplinary versatility of the first artists who arrived or developed in Latin America, as was the master Bernardo Bitti, one of the three pillars of viceregal art in South America at the end of the XVI century. He was an outstanding and fine sculptor, prolific image maker, skilled painter, painstaking gilder, silversmith and mirror maker.His workshop, large and prosperous, located near San Francisco, was a centre of great activity. There is a large number of artworks by the master Bernardo de Legarda in the different churches in the capital of Ecuador that attest to his genius. Amongst his most important artworks is the main altarpiece of the Church of La Merced in Quito, as well as the altarpiece of the Temple of the Jesuits.This relief is especially remarkable because there are very few artworks by Legarda on the market today, and even fewer with this type of relief carving.Its small size and quality, together with its magnificent polychromy, make this relief a coveted jewel that could certainly be a museum piece. The sweet expressions of the characters, who seem oblivious to the scene depicted where Saint Barbara is about to have her throat slit, are classic Legarda.  This type of expression and idealised faces reminiscent of porcelain dolls are repeated over and over again in his sculpture. It is sufficient to see just some of his works to notice that this was undoubtedly the great Master of kind, serene and sweet faces.We take two artworks by the author as typological references of his relief carving. On the one hand, a relief sculptural ensemble conceived within its own niche, representing the Apocalyptic Immaculate Virgin with a choir of angels, in the BEAEP Cultural Center Museum. And on the other hand, an exquisite relief sculpture of a larger size representing the Assumption of Mary, in the Church of San Francisco, in Quito, Ecuador.  Furthermore, when analysing the carving, we compared its clothing, polychromy and sweet features with those of the Archangel Saint Gabriel in the same church in Quito; and also with the Archangel Saint Michael of the Primate Cathedral of Quito, whose sweet face is especially reminiscent of that of the Saint Barbara we have here. 

Paul MOUNT (1922-2009) Geometric Wall Relief Painted fiberglass, 93 x 269cm, maximum depth 38cmThe sculpture has spent it's life outside and has acquired a degree of moss and surface dirt. The paint is flaking. Structurally the piece is sound. There are a number of holes drilled into the back of the piece which allows it to be attached to the wall.

Willi Soukop (1907 - 1995) b. Vienna sculptor and teacher of sculpture, pupils included Elisabeth Frink, pupil of Austrian sculptor Josef Mullner at the Vienna Academy of Fine Art, and RA exhibitor. A paper relief sculpture depicting birds and a woman, possibly a practice piece for one of Soukop's 'bas-relief' sculptures, pencil, ink, paper and card, 51 x 41cm, f & g

TWO CAPODIMONTE SCULPTURES OF BLACKSMITHS, each depicting a blacksmith at his forge, the larger piece including a grey horse, each signed M. Lory with blue Capodimonte mark, together with two certificates, largest piece measures approximately: height 25cm x width 30cm x depth 26cm (2 + 2 certificates) (Condition Report: generally ok, the larger sculpture having a repair to the horse's ear, glue residue on the apron, a possible loss at the base of the anvil, small chips on the forge and flames, and possible tiny chips/rubs to relief areas including fence, the smaller sculpture also has glue residue on the apron, is missing one finger, and possible loss/rough patch on the hair, each ae a little dusty, certificates creased)

Limited edition bronze relief sculpture titled Warsaw Ghetto by renowned American artist and architect Kenneth Treister (b. 1930). Dated August 1969, this expressive piece captures the struggle and resilience of those in the Warsaw Ghetto during World War II. The textured surface and abstract figures evoke a deeply emotional and historical narrative, characteristic of Treister's evocative sculptural work. The reverse bears the engraved edition number, title, artist's name, and date.Artist: Kenneth TreisterIssued: c. 1969Dimensions: 4.75"HCountry of Origin: United StatesCondition: Age related wear.

A powerful and evocative limited-edition bronze relief sculpture by Kenneth Treister, numbered 198 of 400 and dated November 1969. This piece serves as a poignant tribute to the Auschwitz concentration camp, featuring an abstract composition with ghostly and distorted faces emerging from the textured ceramic surface. Treister, a renowned American architect and artist, is best known for his contributions to Holocaust memorial art, including the Holocaust Memorial in Miami Beach. The back of the sculpture bears the inscription Auschwitz K. Treister 1969, further emphasizing the historical significance of this work.Artist: Kenneth TreisterIssued: c. 1969Dimensions: 6"HCountry of Origin: United StatesCondition: Age related wear.

This intricately carved elephant relief sculpture, set on a wooden base, displays a finely detailed depiction of an elephant adorned with traditional garb. The artwork is rendered in earthy tones, with hints of green highlighting the design, providing a striking contrast to the texture of the relief. The sculpture is mounted on a sturdy wooden base for display.Issued: 20th centuryDimensions: 8.25"HCondition: Age related wear.

Limited edition bronze relief sculpture titled Warsaw Ghetto by renowned American artist and architect Kenneth Treister (b. 1930). Dated August 1969, this expressive piece captures the struggle and resilience of those in the Warsaw Ghetto during World War II. The textured surface and abstract figures evoke a deeply emotional and historical narrative, characteristic of Treister's evocative sculptural work. The reverse bears the engraved edition number, title, artist's name, and date.Artist: Kenneth TreisterIssued: c. 1969Dimensions: 5"HCountry of Origin: United StatesCondition: Age related wear.

A powerful and evocative limited-edition bronze relief sculpture by Kenneth Treister, numbered 114 of 350 and dated November 1969. This piece serves as a poignant tribute to the Auschwitz concentration camp, featuring an abstract composition with ghostly and distorted faces emerging from the textured ceramic surface. Treister, a renowned American architect and artist, is best known for his contributions to Holocaust memorial art, including the Holocaust Memorial in Miami Beach. The back of the sculpture bears the inscription Auschwitz K. Treister 1969, further emphasizing the historical significance of this work.Artist: Kenneth TreisterIssued: c. 1969Dimensions: 6"HCountry of Origin: United StatesCondition: Age related wear.

Exquisite Mats Jonasson crystal sculpture featuring two gracefully sculpted dolphins leaping through the waves. Crafted in Sweden, this stunning piece showcases Jonasson’s signature technique of intricate detailing and frosted relief work within the clear crystal. Signed on the base with the artist’s name, this collectible showcases the renowned craftsmanship of the Mats Jonasson Maleras studio. Issued: 20th centuryDimensions: 5.75"HCondition: Age related wear.

A limited-edition bronze relief sculpture titled Exodus by renowned American sculptor and architect Kenneth Treister. Dated June 1969. The relief depicts a symbolic scene of migration, featuring a group of figures in a boat with a large sail, against a textured background that suggests movement and struggle. Treister is known for his expressive and emotive works, particularly those reflecting historical and cultural themes.Artist: Kenneth TreisterIssued: c. 1969Dimensions: 7"HCountry of Origin: United StatesCondition: Age related wear.

This collection features a silver raised relief wall hanging with an intricate Mayan calendar design, measuring 6.75"L x 8.5"H. It is accompanied by a rectangular lacquered wooden box with traditional Indian motifs, a colorful floral-patterned plastic tray, and a small hand-carved Buddha sculpture in gray stone. These unique pieces offer a blend of artistic and cultural craftsmanship, perfect for collectors or distinctive decor. Dimensions: See DescriptionCondition: Age related wear.

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

New Kingdom, 18th Dynasty, Ca. 1353 - 1322 BC.A remarkable sandstone low relief from the Amarna period. A pharaoh, probably Amenhotep IV / Akhenaton, is depicted with a crowned head, arms, and body in profile, worshipping the rays of the god Aton. This well-defined sculpture features clear boundary lines and a homogeneous depth of engraving. For similar see: The British Museum, Registration Number 1935,1109.2; Christie's, Live Auction 1691, Ancient Egyptian Art, The Harer Family Trust Collection, Lot 12.Size: 210mm x 230mm; Weight: 5.1kgProvenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. Published in an exhibition catalogue: Andrea Thiem Christina (ed.), 'AM HOFE DES PHARAO. Von Amenophis I. bis Tutanchamun'. Palais del Arte, Bussolengo, 2002, p. 84. 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.

Ca. AD 1800.A marble sculpture portraying a recumbent lion resting on a rectangular, integral base. The head is turned to the side, with the mouth slightly open, revealing carved teeth. The eyes are deeply recessed, and the brows are pronounced. The mane consists of thick, wavy locks cascading down the neck and shoulders, with individual strands rendered in relief. One front leg is bent beneath the head, serving as a support, while the other hangs loosely over the edge. The hind legs are folded beneath the body, and the tail curves around the left side, extending along the base.Size: 150mm x 310mm; Weight: 5.1kgProvenance: Private UK collection; acquired on the French market in the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

An unusual Contemporary studio art potter three-part metamorphic sculpture feature. The piece of half-dome form made up of three fitting piece separating to reveal relief interiors. Outside glazed in green, inside left raw. Stamped to underside.Measures approx. 15cm x 12cm x 11cm when closed.

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.