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House of Faberge fig tree from the Imperial Trees collection, issued by Franklin Mint. This ornate decorative sculpture features hand-enameled red fig fruits with yellow accents and finely detailed green leaves, all emerging from gold-tone stems. The foliage is set into a square teal-blue planter with four bracket feet and bas-relief gold-tone garland and wheel decorations on each panel. The base is marked with the Franklin Mint FM insignia and retains a partial Made in China sticker.Dimensions: 3.75"HCountry of Origin: United StatesCondition: Age related wear.

Handcrafted in Italy, this expressive porcelain composition by artist G. Borsato portrays a powerful Biblical moment in vibrant relief, featuring an angel in mid-flight descending upon a startled shepherd. The sculpture is rendered with dynamic movement and finely shaded glazes in tones of green, yellow, and earthen hues. Signed and stamped on the back with Original G. Borsato Made in Italy and bearing additional paper and foil labels beneath the green felt base. This is a striking example of Borsato's emotive figural artistry, renowned for its intricate detailing and dramatic storytelling. Measures approximately 13"H.Dimensions: See DescriptionCountry of Origin: Italy Condition: Age related wear.

This charming lot includes three Anri hand-carved wood items crafted in Italy. Featured are two Ferrandiz bas-relief plaques, one depicting a child playing bagpipes and the other a girl with a bird, both showcasing vibrant hand-painted detailing in carved ovals. Also included is a delightful Toriart figurine of a child holding a four-leaf clover, complete with the original Anri tag and label. These collectible pieces highlight Anri's dedication to fine craftsmanship and storytelling through wood sculpture. Tallest piece measures 7"H. Issued: 20th century Dimensions: See DescriptionCountry of Origin: ItalyCondition: Age related wear.

Delightful group of three carved wood pieces including two ANRI figures by Jerrandiz. The first is a highly detailed figural group depicting children riding a donkey under a blue striped umbrella, full of charm and narrative appeal. The second is a vertical wall plaque featuring a child playing the bagpipes in high relief, framed in an oval recess and signed Jerrandiz. The third is an unsigned sculpture of two boys at play, captured mid leap in a spirited leapfrog pose, showcasing fluid movement and expressive carving. Anri backstamp. Marked Ferrandiz. Largest item measures: 6.75"L x 5.75"W x 10.25"H.Artist: Juan FerrandizDimensions: See DescriptionCountry of Origin: ItalyCondition: Age related wear.

This intricately detailed resin sculpture is part of the company's renowned line of hidden scene sculptures and features a hinged façade that opens to reveal a theatrical performance on stage. The miniature showcases the building's ornate classical exterior, with delicately sculpted columns, bas-relief portraits, and rooftop statuary. When opened, the interior reveals a colorful and detailed diorama of a ballet performance set in a lush forest backdrop, complete with stage curtains and side box seating. Harmony Ball Co. sticker label. Issued: 2004Dimensions: 4"L x 4.75"W x 8"HCondition: Age related wear.

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

DENMARK (1950), sculpture/relief 'Dead letters', (Open magazine with horizontal cut), signed and dated 1991DENMARK (1950), sculptuur/relief 'Dode letters', (Open tijdschrift met horiznotale snede), getekend en gedateerd 199129 x 41 cm provenance: Vera Van Laer Gallery, Antwerp, collection privée Bruxelles

FRANZ VON LENBACH (GERMAN 1836 - 1904), PORTRAIT OF THE ACTRESS MAXINE ELLIOT oil on canvasframedtogether with a preparatory charcoal sketch, also framed and under glass measuring 112cm x 85cm overallimage size 196cm x 75cm, overall size 128cm x 98cmQty: u2Note: Franz von Lenbach was born on December 13, 1836, in Schrobenhausen, Bavaria. The son of a mason, he trained at Landshut Technical College with the intention of pursuing his father's trade. In 1851 he began working in Munich in Anselm Sickinger’s sculpture studio. Through his older brother, Karl August Lenbach, he met Johann Baptist Hofner, an artist who had trained at the Munich Academy of Fine Arts, who formally introduced him to drawing and painting. Having attended the Augsburg Polytechnic for two semesters, between 1852 and 1853, and working for a few months in Albert Gräfle’s studio, Lenbach enrolled in the Munich Akademie in 1854. In 1857 he became a pupil of Karl Theodor von Piloty, an artist famed for his history paintings. The following year, with the help of a scholarship, he accompanied Piloty on a trip to Rome, along with Carl Ebert, Ferdinand von Piloty, and Theodor Schüz. In Italy he made several oil and pencil sketches that would inspire such famous paintings as L’arco di Tito (1860), finished upon his return to Munich. From 1860 onward, he started teaching at the Weimar Art School and devoted himself to reproducing Old Master works on commission for Count Adolf Friedrich Graf von Schack. His work as a copyist took him back to Italy as well as Spain, Vienna, and Berlin. At the end of the 1860s, he settled in Munich and became internationally successful thanks to the many portraits he painted of society personalities of the time, including Otto von Bismarck, Peggy Guggenheim, Franz Liszt, and Richard Wagner. At the beginning of the 1870s, he substituted his previous bright palette with darker tones and started using light more effectively, especially in his portraits. His style went on to have a remarkable influence on the art of the time. In 1882 Lenbach was granted nobility, and in 1900 he won the Grand Prix for painting in Paris. He died in Munich on May 6, 1904.Note 2: Maxine Elliott was born Jessie Dermott, in 1868 to a Rockland, Maine, sea captain. She went to New York as a young woman and married comedian Nat Goodwin. Maxine’s beauty and acting abilities led to a 30-year career as a stage actress, and she skyrocketed to fame. For a time, she also operated a New York theater branded with her name, “Maxine Elliot’s Theatre.” Maxine’s life was a wild one. Her intimates included J.P. Morgan, British King Edward VII and Charlie Chaplin, among many others. In 1913 she began dating New Zealand tennis star Anthony Wilding. During World War I she donated her money and her time to Belgian war relief. But Wilding was killed in the war. By 1920, Maxine’s talent, and some help from her wealthy friends, had left her with no need for more money. She retired to a Mediterranean estate in Cannes, France. She wished to age gracefully at her home, Château de l’Horizon. A white art deco villa, it featured a large terrace and a long slide to drop her and her guests from the swimming pool into the sea. Large parties of libertines assembled at Maxine Elliott’s French estate, and it became notorious. Winston Churchill visited from 1933 to 1939. Winston’s wife Clementine had little use for Château de l’Horizon or Maxine and her friends. Clementine viewed them as gossipy and frivolous. Maxine Elliot/Jessie Dermott died at her French estate in 1940 at age 72, far from her Rockland, Maine, beginnings. Her estate now belongs to the Saudi royal family.

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

A refined Chinese hand-carved deer bone sculpture depicting an enthroned imperial couple seated against an intricately carved screen featuring dragons, cranes, clouds, and celestial motifs. The male and female figures, styled in elaborate robes adorned with phoenixes and dragons, are rendered with serene expressions and regal posture, emphasizing their roles as emperor and empress. Between them stands a ceremonial incense burner intricately decorated with mythological beasts and pierced floral medallions, capped by a foo dog finial. The backdrop features a high-relief folding screen crowned with coiled dragons, while the platform and throne incorporate fine linear engraving, fretwork, and colored pigment inlays. Executed in segmented deer bone panels and stained to enhance detail, the entire piece is a dramatic display of dynastic iconography and artisan mastery. Inscribed and polychrome-enhanced decoration. Includes two original export and cataloging stickers from the Balearic Islands, Spain. Certificate of Authenticity included. Weight: 35 lbs. Issued: c. 1980Dimensions: Approximately 29"L x 13"W x 24"HCountry of Origin: ChinaCondition: Age related wear. Small piece missing on upper left part of throne.

Clear glass sculpture produced by Baccarat and designed by Tauni de Lesseps (French-American, 1920-2001). The form depicts a bust of a horse with a downward-turned head and flowing mane, modeled with stylized anatomical detail. The piece is rendered in solid clear crystal with a matte-textured surface that contrasts with polished highlights along the mane and facial features. Cast in high relief, the sculpture captures the contour of the horse's musculature and expressive head in profile. Created in collaboration with French-American artist Tauni de Lesseps, known for her equestrian-themed designs, this work reflects Baccarat's precision in mold-cast crystal. The piece is unsigned on the visible areas, consistent with limited edition or artist-signed series by Baccarat.Artist: Tauni de LessepsDimensions: 12.5"L x 4"W x 10.75"HCountry of Origin: FranceCondition: Age related wear.

A striking handmade clear glass sculpture by Nybro of Sweden, designed by Paul Isling. This frosted and polished glass piece features a stylized, textured cloud-shaped silhouette with an internal relief of Viking ships sailing on wavy waters. The contrast between the textured edges and smooth center enhances the depth and dimensionality of the design. Retains the original Nybro label stating hand made in Sweden, Design Paul Isling.Artist: Paul Isling Issued: 20th centuryDimensions: 4"L x 3.75"HCountry of Origin: Sweden Condition: Age related wear.

Glass sculpture by Stanislav Libensky (Czech, 1921-2002) and Jaroslava Brychtova (Czech, 1924-2020). The piece is formed from translucent deep amber-colored glass, featuring an abstracted head in relief set within a solid rectilinear volume. Stanislav Libensky and Jaroslava Brychtova are two of the most influential and innovative Czech glass artists of the 20th century. Libensky (1921–2002) and Brychtova (born 1924) revolutionized the art of glass with their pioneering techniques in casting and glass sculpture. They were both highly regarded for their ability to manipulate glass in ways that showcased both its material beauty and its sculptural potential. Libensky was a professor at the renowned Academy of Art, Architecture and Design in Prague, while Brychtova’s work was exhibited in many of the world’s leading galleries. Together, their collaborations introduced a new dimension to glass art, with a focus on geometric forms, abstract expressionism, and innovative technical processes. Their work has been showcased in prestigious museums around the world, including the Corning Museum of Glass in New York, the Museum of Decorative Arts in Prague, and the Victoria and Albert Museum in London. Their sculptures are part of permanent collections in numerous institutions, and they have earned numerous awards, including those for excellence in craftsmanship and design.Artist: Stanislav Libensky and Jaroslava Brychtova Issued: 20th centuryDimensions: 6.5"Lx 5"W x 14"HCountry of Origin: CzechoslovakiaCondition: Age related wear.

* EDITH SIMON (GERMAN / BRITISH 1917-2003), HOMAGE TO JOHN BELLANY painted composition sculpture, signed to base61cm high Provenance: lot 2336, The Scottish Contemporary Art Auction 20th December 2015 where acquired by the current vendor.Note: Edith was born on 18th. May 1917 in Berlin, Germany where her family had lived for generations. Her father Walter Simon was a much decorated cavalry officer in the First World War, and a prosperous business owner in peacetime. Her school was The Furstin-Bismark Gymnasium where she received a good liberal education, and excelled at art and history. In 1927 at the age of 10 her drawings were first published in a newspaper. As the political climate in Germany became increasingly threatening Walter Simon wisely decided the family would be safer if they left Germany and move to London, much to Edith’s dismay. In 1932 Edith and her sister Inge arrived in London to join the family. Edith taught herself English and then attended the Slade and Central School of Art, became involved with a group of left wing artists and was in 1933 a founder member of Artists International Association (AIA). In 1934 she exhibited a portrait of the first committee of the AIA at an exhibition at 64 Charlotte Street London. Her first book for children ‘Somersaults and Strange Company’ was published in 1934 and she began work on a novel ‘The Chosen’ while translating Arthur Koestler’s ‘The Gladiators’ into English. Her translation was later translated back into German when the original manuscript was lost. In 1940 ‘The Chosen’ was published (to great critical acclaim on both sides of the Atlantic) although all but a few copies were destroyed in the blitz. Nothing daunted her and the second novel ‘Biting the Blue Finger’ was published in 1942 the year in which she met a scientist Eric Reeve. They were married shortly afterwards. Eric and Edith moved to Edinburgh in 1947 where Eric took up a post with the new genetics department at Edinburgh University while Edith continued her career as author. She had 17 books published, contemporary novels, historical novels, and histories.1969 began an increasing focus on art, with an exhibition at the Demarco Gallery in Edinburgh in 1970 followed in 1971 by an exhibition of mobile sculptures and papercut bas-relief pictures at Galerie Balans in Amsterdam and at the Stads Schourburg Galerie Tilbourg. In 1972 Edith’s last book ‘The Anglo Saxon Manner’ was published. From the first mobile sculptures and papercuts Edith went on to explore making drawings in one continuous line without lifting pen from paper, see-through pictures in translucent layers, sculpture in stained wood, ciment-fondue, vacuum formed perspex, cast polyester resin, cold-cast bronze, copper, aluminium, metal sheet, carved plaster, painted glass, painted chairs, baths, and murals in paint and wood veneer. She had so many new ideas and techniques that it was hard to keep up. The continuous line pictures developed into three dimensions with resin supported rope being the continuous line, eventually Edith stopped doing the continuous line drawings when they were no longer enough of a challenge. The paper cuts increased in difficulty with more and more layers of different coloured paper. The layers had to be in the correct order to create the correct highlight and shadow tones, and so cutting down to the colour needed did not cause the whole set of outer layers to fall off. Edith therefore had to be able to “see” what the picture would look like, what colour went where and see the three dimensional set of colour layers in her mind’s eye, before she started on any picture. She exhibited at the Edinburgh Festival every year until 2001 as well as exhibitions in London and Glasgow. The last 8 years of her life were a battle against failing health – she worked attached to a long oxygen line, but was still producing a good number of papercuts.

h cm 27,5The sculpture depicts a scene from the life of the Buddha. At the base of the group, a finely repoussé Garuda head supports a throne, on which a vajra is placed in the foreground. Behind it rises a pedestal upheld by two deities, upon which the Buddha Shakyamuni is seated in meditation on a lotus base, with his hands in the bhumisparsha mudra. He is surrounded by full-relief celestial musicians and celebratory figures, all framed within a richly decorated floral mandorla.释加牟尼铜座像，西藏，十八世纪/十九世纪

Clear crystal sculpture is depicted in a striding pose atop a stylized rocky terrain base, with elongated tail feathers extending behind and wings tucked to the body. The bird and base are both faceted and polished, producing refractions characteristic of Baccarat's precision-cut crystal. Feather details are molded in relief with geometric facets accentuating the tail and crest. Marked Baccarat France on the base. The dimensions are approximate.Dimensions: 17.25"L x 4.75"W x 7"HCountry of Origin: FranceCondition: Age related wear.

This exceptional Lalique Chimere dragon decanter showcases masterful Art Deco–inspired design with a three-dimensional dragon chimere motif swirling across the broad crystal body in vivid relief; hand-polished to a flawless brilliance, while the precisely faceted diamond-cut stopper adds a sparkling counterpoint. Signed Lalique France on the base, it exemplifies Rene Lalique's pioneering fusion of sculpture and functional glassware, perfect for display or elevating fine spirits in the home bar; measures approximately 6.5?L x 12.5?H. Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear.

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

Crucified Christ, partially painted and gilt ivory sculpture, Brazilian rosewood base and cross with gilt carvings and silver applications en relief, 18th C., arms sculpted on the same ivory tusk as the body, missing two fingers, base with minor defects, minor fault and traces of wood insects, silver without marks, pursuant to Decreto-Lei No. 120/2017, of 15 September - art. 2, paragraph 2, point (c), Dim. - (Cristo) 63,5 cm; (total) 158 cm

Pelé Minas Gerais 1958 World Cup 50th anniversary trophy presented in 2008, a trophy presented to Pelé on June 18, 2008, by the Governor of Minas Gerais, Brazil, on the occasion of the 50th anniversary of Brazil's first World Cup victory in 1958, the trophy featuring a bronze circular sculpture, displaying a raised relief image of the Jules Rimet Trophy, mounted to a black base, affixed to the base is a plaque that reads "Pelé/ 50 anos da primeira conquista brasileira da Copa do mundo de Futebol/ Aécio Neves da Cunha/ Governador de Minas Gerais/ Belo Horizonte, 18 de junho de 2008" [Pelé/ 50th anniversary of the first conquest of Brazilian World Cup Soccer/ Aécio Neves da Cunha/ Governor of Minas Gerais/ Belo Horizonte, June 18, 2008], the trophy is housed in a black velvet case, case, 42 by 32 by 12cm.Provenance: The Pelé Collection, Julien’s Auctions, London, 7th to 9th June 2016, Lot 291.The following lots 152 to 228 relate to the career of football legend Pele.

Amber-toned pate de verre glass sculpture created by French artist Pierre Roulot (1917-2007) for Daum. The relief design features two nude figures, Adam and Eve, shown in a moment of intimate interaction. The piece is executed in thick, translucent amber glass, with fine details in the hair, face, and bodies rendered in high relief. Signed "Daum France" on the side and incised with the artist's name "Roulot" on the front edge of the frame. This work is part of a limited edition of 200, with this example numbered 167/200. Mounted on a metal display stand for upright presentation.Artist: Pierre RoulotDimensions: 6.5"L x 2"W x 6.25"HCountry of Origin: FranceCondition: Age related wear.

A rare and expressive crystal sculpture by Baccarat, designed by artist Bernard Augst. This 1977 limited edition piece features a highly detailed relief of a leaping hare, deeply etched into a thick, polished crystal block. The naturalistic texture and movement of the hare contrast beautifully with the smooth, optical clarity of the surrounding crystal. Signed "Baccarat" and "AUGST" on the surface, and hand-engraved with the edition "41/60," this is a scarce work from a production run of just 60.Artist: Bernard Augst (French, b. 1934)Issued: 1977Dimensions: 14"L x 10"HCountry of Origin: FranceCondition: Age related wear. Chip on side edge.

A rare and substantial Baccarat crystal sculpture featuring an expressive bear rendered in high relief within a clear, polished rectangular form. The reverse depicts a bear walking, while the front side presents the animal in a standing pose. Created in 1977, this sculptural block showcases an earthy, textural approach within the refined medium of crystal. The piece is signed "Baccarat" and includes the etched hallmark and edition number "5/60," marking it as part of a limited edition of only 60 pieces.Issued: 1977Dimensions: 10"L x 14"HCountry of Origin: FranceCondition: Age related wear.

Impressive hand-carved wooden sculpture depicting a perched eagle with detailed feather and claw work throughout. Carved from a single solid piece of wood, the eagle is shown in a regal pose with its beak open and talons clutching a stylized base. The carving features high-relief detailing on the feathers, with deeply incised patterns to suggest texture and motion. The natural variations in the wood grain and warm tone enhance the dimensional quality of the piece. A striking decorative object likely made as a tribute to the symbolic strength and majesty of the eagle.Issued: 20th centuryDimensions: 13"L x 8"W x 23"HCountry of Origin: USACondition: Age related wear.

A four piece collection of decorative figures inspired by Ancient Egyptian art and symbolism. This set includes a reclining Sphinx figure finished in metallic gold and cobalt blue, featuring stylized hieroglyphics along the base, a seated Pharaoh adorned in a headdress with detailed throne carvings in a faux aged bone finish, a kneeling Pharaoh figure rendered in cream and gold tones holding offering vessels, and a small pyramid sculpture inscribed with symbolic markings and relief decoration. Each piece exhibits classic Egyptian Revival motifs popularized in the 20th century, likely crafted from resin or composite materials. Largest measures 4.5"L x 8.5"H.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

Benno Schotz RSA (Estonian/Scottish 1891-1984) "Aime Soeur" (1946) Single piece wooden sculpture, relief carved with two female nudes, signed to base, titled and dated 1946 to applied label.34.5cm wide, 8cm deep, 48cm highBenno Schotz was born in Estonia in 1891 and emigrated to Glasgow, Scotland, in 1912 where he worked in the drawing office of a shipbuilding firm while taking evening classes at the Glasgow School of Art; he became a full-time sculptor in 1923 and enjoyed a successful career as one of Scotland's preeminent artists of the 20th century, becoming a member of the Royal Scottish Academy and a central figure in the Glasgow art scene where he headed the Sculpture and Ceramics Department at the GSA until his retirement in 1960. His work is held in museums and private collections with numerous public works in and around the Glasgow area.

Walter Ritchie (British 1919-1997) "Flying Geese" (1981-83) Large, rare and impressive sculpture carved in sycamore, ebony and black walnut, designed and executed 1981-83, each bird separately affixed to the shaped central rotating column mounted on a two-part circular base. 274cm high, 162cm wide, the base 120cm diameter Commissioned by the National Westminster Bank upon specialist advice and designed specifically for a new branch in Worcester where it was displayed before being removed many years later, subsequently acquired April 2012 and renovated that year - the design was inspired by the former name of St. Swithen Street along which the bank partly ran, Goose Lane; this sculpture is listed and illustrated pp. 39-40 of Walter Ritchie Sculpture, pub. Walter Ritchie, Warwick 1994 (ISBN 0 9506205 5 6). Walter Ritchie displayed innate skill from an early age and had become a fully-fledged sculptor by the age of 18, going on to study under Eric Gill as one of his last ever pupils after World War Two. He showcased his skills across many different natural materials over a career which he pursued with a singularly uncompromising artistic vision that characterised his legacy.Ritchie is best known for his depiction of cricketing legend Len Hutton at The Oval, relief carved into brick with a remarkable dynamism and fluidity that Ritchie particularly excelled in, very much mirrored here in "Flying Geese" which equally demonstrates a sense of movement beyond the material, itself expertly handled and sculpted with the utmost attention to detail whilst not losing sight of its overall physical presence in space and undeniable grace.This sculpture presents a very rare opportunity to own the work of an artist who operated in complete contrast to other, more commercially successful sculptors of the era, for example never employing assistants, and shunning both the London scene and wider society to the extent that he only ever had two exhibitions in his lifetime. As such, Ritchie could not be described as a household name and yet, when one considers that his works feature in or on the walls of hospitals, schools, churches, banks, and even cricket grounds, his time will surely come, whether he would like it or not.Credits: Leamington History & The Independent. One wing with section of loss, one of the affixing sections with a small area of repair and reglue, the lowest bird affixing section does not slot in as fully as the other two, otherwise some expected surface wear and some hairlines to wood natural with changes in temperature over the years, overall good, stable, ready to place and presents extremely well, additional images available.

Elaine Hind, RBSA (British, b.1945), two floral encrusted vases, with relief irises, 52.5cm high, and lilac, 27.5cm high together with a and ceramic sculpture of poppies, 55.5cm high, all signed to base (3)

SILVER CUP WITH LION | PRAGUE (CZECH / BOHEMIAN 1817) | 1817 | height 16.5 cm | marked: marked with a stamp office stamp | provenance: JUDr. Matouš Mandl (1865-1948), Czech lawyer and politician, mayor of Pilsen, art collector | Lot description | A silver goblet on a foot, decorated with a figural sculpture of a lion holding a shield. A profiled chalice with a ribbed surface is mounted on a richly decorated foot with a floral relief. The cup bears the hallmark of Prague and is made of 13-lot silver (purity 812/1000). | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded. |

A striking embossed paper relief by Frank Gallo, depicting a young woman's face in a highly sculptural and tactile manner. The artwork features Gallo's signature style, characterized by delicate facial features emerging from the paper's surface, enhanced with intricate details such as textured hair and additional figurative elements subtly incorporated into the background. This work exemplifies Gallo's innovative approach to printmaking, blending traditional relief techniques with a three-dimensional aesthetic. Signed by the artist in pencil at the lower center and hand-numbered, this limited edition piece is a fine example of Gallo's mastery in creating ethereal and dreamlike representations of the human form. Presented in a shadow box-style Lucite frame that accentuating the depth and sculptural quality of the work. Frank Gallo was a celebrated sculptor and printmaker known for his innovative approach to three-dimensional paper relief and fiberglass sculpture. A graduate of the University of Illinois and Yale University, Gallo became widely recognized for his ethereal depictions of the human figure, often portraying women with soft, dreamlike expressions. His work, which blends elements of realism with a distinct sculptural quality, has been exhibited in major institutions, including the Museum of Modern Art and the Art Institute of Chicago.Artist: Frank Gallo (American, 1933-2019)Issued: c. 1990Dimensions: 50.50"L x 5.50"W x 62"HCountry of Origin: USACondition: Age related wear.

Art glass sculpture by Murano artist Loredano Rosin, depicting an abstract hand supporting a stylized face. The face features swirling internal hues of blue, green, and amber with geometric relief, contrasting against the smooth, translucent form of the hand. Mounted on a clear glass base and signed Loredano Rosin. A distinctive example of Rosin’s ability to blend figurative forms with abstract expression.Artist: Loredano RosinIssued: 20th centuryDimensions: 8.75"L x 23.25"HCountry of Origin: ItalyCondition: Age related wear.

A diverse and intriguing collection of cultural and artistic pieces, including hand-crafted pottery, porcelain, and carved wood sculptures. This lot features: A terracotta plate decorated with saxophone player; A hand-painted Greek-style amphora with figural decoration and an attached wax seal; Nemadji Pottery small marbled clay vessel with an organic swirling design; A finely detailed Southwest-style polychrome pottery jar with intricate geometric patterns signed Rose Romero NM; Kenya hand carved wooden tribal figure with a tall, elongated form; Taste Setter by Sigma hand-painted porcelain mask-shaped trinket box; Clay Buddha relief sculpture with fine carving details; and clear glass World Trade Center New York City skyline paperweight with 3D etching. Largest piece 8.5" dia.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

Striking cast glass sculpture by American artist Frank Gallo (1933–2019), featuring a high-relief depiction of a woman's flowing profile in Gallo’s signature romantic style. The piece is signed Frank Gallo, dated 1987, and numbered 1 of 30. Known for his expressive sculptural portraits and sensuous forms, Gallo worked in various media including bronze, marble, and glass. His works are held in major public collections such as the Smithsonian American Art Museum and the Hirshhorn Museum. This substantial glass artwork reflects light beautifully and showcases fine detail in the textured hair and facial contours. Measures approximately 12.75"H.Artist: Frank Gallo (American, 1933-2019)Dimensions: See DescriptionCondition: Age related wear.

Skulptur von Papst Pius X. mit Spielwerk, 1. H. 20. Jh. Metallguss, Vergoldung nur noch fragmentarisch erhalten. Dargestellt ist Papst Pius X. in seiner Soutane gekleidet auf einem Petrusstuhl sitzend, die Hand zum Segensgestus erhoben. Der Stuhl steht auf einem hohen, rechteckigen Sockel. Darauf ein Relief von Petrus mit dem Schlüssel als Attribut und der Inschrift 'Sanctus Petrus', darunter 'PIUS X'. Links davon eine kleine Tafel mit der Beschriftung 'Auf diesen Fels will' und auf der rechten 'ich meine Kirche bauen'. Umlaufend befinden sich weitere päpstliche Insignien und Ornamente im Relief. Das Spielwerk ist auf der Unterseite mit einer Holzplatte abgedeckt und kann mit dem beiliegenden Schlüssel aufgezogen werden. Zu hören ist eine Melodie mit Glockenspiel. H 42 cm. Die Skulptur ist nicht signiert oder datiert. Altersspuren, Vergoldung stark berieben.Papst Pius X. hatte das Pontifikat von 1903 bis zu seinem Tod 1914 inne. Geboren wurde er in der Region Lombardo-Venetien im damaligen Kaisertum Österreich, daher wohl die deutsche Inschrift. Er wurde 1954 von Papst Pius XII heilig gesprochen.| Sculpture of Pope Pius X with musical mechanism, 1st half of the 20th century. Cast metal, gilding only fragmentarily preserved. It depicts Pope Pius X, dressed in his cassock, sitting on St. Peter's chair, his hand raised in a blessing. The chair stands on a tall, rectangular base. On it is a relief of St. Peter with the key as an attribute and the inscription 'Sanctus Petrus', with 'PIUS X' below. To the left of it is a small plaque with the inscription 'On this rock I will' and to the right 'build my church'. Further papal insignia and ornaments are arranged all around in relief. The musical mechanism is covered on the underside with a wooden plate and can be wound up with the included key. A melody with glockenspiel can be heard. H 42 cm. The sculpture is not signed or dated. Signs of age, gilding heavily rubbed. Pope Pius X held the pontificate from 1903 until his death in 1914. He was born in the Lombardy-Venetia region of what was then the Austrian Empire, hence the German inscription. He was canonized by Pope Pius XII in 1954.

Elegant mid-20th century silvered-metal sculpture inspired by the iconic works of Demetre Chiparus, a leading Art Deco sculptor of the 1920s and 1930s. The figure depicts a poised female dancer balancing gracefully on one foot with outstretched arms, wearing a form-fitting costume and flapper-style headpiece richly textured in relief. Rendered in a dynamic pose atop a tiered circular base, the sculpture reflects the theatricality and glamour of Chiparus's celebrated bronze and ivory figures. While not signed, this piece exemplifies the Art Deco Revival movement of the 1950s-1970s, when renewed interest in Chiparus's stylized forms inspired decorative reproductions for modern interiors.Dimensions: 20"HIssued: mid 20th centuryCondition: Age related wear.

Bill Mack (American, b. 1949). Bonded sand relief sculpture titled "Serenity," 1985. Signed and editioned 58/150 along the lower left.Unframed; height: 27 1/2 in x width: 39 in. Framed; height: 37 1/2 in x width: 50 in x depth: 2 in.Condition: There are no major breaks, losses, or signs of restoration. Wear along the extreme edges of the work. Some soiling/discoloration throughout due to dust gathered in the recessed areas. Some soiling and foxing to the mat, especially along the right edge. Light wear to the frame. Not inspected out of frame.

Bill Mack (American, b. 1949). Bonded sand relief sculpture titled "Reflection," 1987. Signed along the lower right.Unframed; height: 36 in x width: 49 in. Framed, approximately; height: 45 in x width: 58 x depth: 11 in.Condition: There is a loss measuring approximately 1/4 in along the upper right. Wear along the extreme edges of the work. Some discoloration to the protruding foot of the woman along the left of the work, likely due to a harsh cleaning. Some soiling/discoloration throughout due to dust gathered in the recessed areas. Housed within a wooden crate and within a frame. Light wear to the frame.

Bill Mack (American, b. 1949). Bonded sand relief sculpture titled "Radiance," 1990. Signed along the upper left.Unframed; height: 30 in x width: 62 1/2 in. Framed; height: 39 in x width: 75 in x depth: 5 in.Condition: There are no major breaks, losses, or signs of restoration. Wear throughout including discoloration/soiling due to dust gathering in the recessed areas. Light wear to the frame.

Bill Mack (American, b. 1949). Bonded sand relief sculpture titled "Illusion," 1986. Signed along the lower left.Unframed; height: 47 1/2 in x width: 32 1/2 in. Framed; height: 60 in x width: 44 1/2 in x depth: 9 1/2 in.Condition: There are no major breaks, losses, or signs of restoration. Some soiling/discoloration throughout due to dust gathered in the recessed areas. Some soiling to the mat. Light wear to the frame.

Vanguard Studios bas-relief hand finished resin sculpture, moulding taken from a wooden carving of a Buccaneers head. Moulded in Vanathane, certified 53cm x 83cm

A BOX OF RELIGIOUS DECORATIVE ITEMS to include a stone/plaster composite relief depicting the bas relief of 'The Three Magi, St Lazarus of Autun Church' height 26cm x width 27cm, a chalk bas relief of the prophet Jeremiah depicting a similar sculpture of the Abbaye St Pierre de Moissac (light scuffs to the hand, and edges), a replica of the 'Cripple Corbel' from Exeter Cathedral, a bas relief sculpture depicting the 'Mystical Mill Capital, Basilica Marie-Madeleine of Vezelay' (some knocks), and a relief of an unidentified religious sculpture (repair in places), a terracotta tile reading 'All shall be well and all manner of things shall be well' (Julian of Norwich) purchased at Wells Cathedral in 2000, a representation of the tree of life, two framed photographs of stained glass windows, and a cobalt and gilt Islamic plate decorated with gilt arabesque patterns and an inscription in the name of God to the centre (1 box)

A 20th century Swedish glass sculpture, Forever Love, by Ewan Allison for Johansfors, moulded in relief with a two lovers, silvered, mounted for display, 21cm high overall

Hand-carved African totem sculpture rendered in a dark hardwood, possibly ebony, featuring a vertical composition of interwoven human and animal figures in high relief. The figures are intricately carved with stylized anatomical features, expressive faces, and dynamic poses, forming a continuous narrative likely referencing ancestral or communal symbolism. The cylindrical form is carved from a single piece of dense, fine-grained wood with a polished surface characteristic of traditional Central or West African woodcarving.Issued: 20th centuryDimensions: 10.5"HCondition: Age related wear.

Dimensions: Height 38 cm Wide 13 cm Depth 13 cm wihout baseWeight: 8229 grams with base This striking sandstone sculpture represents a Mukhalinga, a sacred emblem of Shiva in which the formless linga is imbued with anthropomorphic form through the presence of carved faces. This example is of the Trimukha (three-faced) type, with three distinct heads of Shiva carved in high relief on the upper portion of the cylindrical shaft. The central face is rendered with classical serenity, eyes half-closed in meditation, framed by a jata-mukuta (matted hair crown), and adorned with heavy earrings and a sacred thread. Two additional faces emerge from the sides, representing the triadic aspects of Shiva—creator, preserver, and destroyer—known as Aghora, Tatpurusha, and Vamadeva respectively. This sculpture is attributable to the Hindu Shahi dynasty (circa 8th–10th century), which ruled parts of Gandhara and Kabul Valley before the advent of Islamic rule. The Hindu Shahis continued and transformed earlier Gupta- and Kushan-influenced artistic traditions, incorporating bold, expressive forms with regional innovations. Hindu Shahi art is marked by:Robust body modelingElaborate jewelry and coiffuresEmphasis on divine authority and presenceUse of red or pink sandstone native to the region The Mukhalinga was a powerful emblem of royal and religious devotion in Hindu Shahi sanctuaries, combining abstract and personal dimensions of the divine, consistent with Shaiva metaphysics. Labeled at the backside with: Dalton Somare , Milano sticker Dalton Somaré is a distinguished art gallery located in Milan, Italy, specializing in Classical African Art and Ancient Hindu-Buddhist Art from the Himalayas, India, and Southeast Asia. Established in 1993, the gallery has been operated by Tomaso and Gerolamo Vigorelli.Dalton Somaré is committed to the conservation and scholarly documentation of each piece in their collection. They provide comprehensive research on the cultural significance and stylistic attributes of their artworks, ensuring that collectors and enthusiasts gain a profound understanding of each item's context and value.

Dimensions: Height 54 cm Wide 26 cm Depth 10 cm without baseWeight: 17.1 Kilograms with base Carved in high relief from dark grey stone, the four-armed Vishnu stands in samabhanga on a lotus pedestal, flanked by his consorts Shri Devi and Bhu Devi. He holds his traditional attributes: the chakra (discus) and gada (mace) in his upper hands, and shankha (conch) and padma (lotus) in the lower. The god is adorned with elaborate jewelry and a tall kirita-mukuta crown, his serene face framed by pendulous earlobes and delicately modeled features.Above, flying celestial figures (vidyadharas) pay homage amidst scrolling foliage, while below, a small kneeling donor figure is surrounded by worshippers and attendants. The background stele is topped with a cusped arch, bordered by ornamental carving in traditional Pāla style. The composition is balanced, with precise detailing and a refined polish, characteristic of the 12th-century stone sculpture from the region of Bihar or Bengal.

Dimensions: Height 9 cm Wide 5,5 cm Depth 2,6 cmWeight: 227 grams This compact and powerfully modeled stone sculpture represents Ganesha, the beloved elephant-headed Hindu god of wisdom, beginnings, and the removal of obstacles. Carved in high relief, Ganesha is shown seated in padmasana (lotus posture) on a low pedestal. His trunk curves gently downward, touching or nearing the round belly—emphasizing his iconic association with abundance and contentment.His four arms , suggest an early and localized iconographic form.The face is broad a prominent snout, framed by large fan-like ears that are characteristic of early medieval Ganesha figures.The sculpture is encased in a rounded niche or frame at the back, possibly indicating its original placement within a shrine wall or small temple niche. The style and carving technique suggest a dating to around the 8th century CE, possibly under the early Rashtrakuta or Chalukya dynasty, both of which actively promoted Shaiva and Ganapatya worship in the Deccan region.

Dimensions: Height 15 cm Wide 11 cm Depth 3 cm without baseWeight: 1111 grams with base This rare early medieval stone sculpture from Kashmir represents Durga in the form of Gajalakshmi, the goddess of abundance, seated in regal ease (lalitasana) on a lotus base. She is flanked by two elephants, shown in dynamic relief as they perform the abhisheka (ritual lustration) by pouring water over the goddess with raised trunks. These elephants symbolize royal power and fertility, integral to the Gajalakshmi iconography. The goddess is holding a lotus and a flower-bearing branch in the other. The image is set within a rounded arch carved with stylized reliefs of the elephants and attendants, creating a niche-like architectural backdrop that emphasizes the goddess’s centrality. Two attendant figures stand to either side at a smaller scale, and lions are depicted beneath her feet, referencing Durga’s protective and martial aspects. Well preserved with minor weathering and encrustation. The surface retains fine detail in the jewelry and hair, though the face is worn from age or devotional contact. The arch remains largely intact, as do the flanking elephants and subordinate figures. This sculpture exemplifies the syncretic and refined stone carving traditions of Kashmir during the early medieval period. The merging of Durga’s protective energy with Lakshmi’s auspiciousness in the form of Gajalakshmi reflects the devotional richness of the region.

Dimensions: Height 25,5 cm Wide 31 cm Depth 9 cmWeight: 6202 grams This elegant metal sculpture of a standing horse is rendered in a stylized, almost abstracted form, with a strong, curving body and legs positioned in a rigid frontal stance. The figure's formal pose is softened by the finely incised surface decoration, which includes: - Arabic calligraphic inscriptions (likely Quranic verses or invocations) inscribed in flowing thuluth or naskh script along the neck, back, and flanks, arranged in medallion-like panels. - Intricate foliate and floral designs surrounding the inscriptions and covering parts of the body, especially around the haunches and neck. - Rosette-shaped floral motifs in relief applied to the shoulders and neck. - A curled tail ending in a knob, with highly stylized anatomical features such as rounded ears and simplified facial contours.Such figures are often associated with Islamic funerary or devotional contexts, particularly in parts of Mughal India, the Deccan Sultanates, or later princely states. The presence of Arabic script suggests a protective or sacred function, possibly linked to tomb markers, royal processions, or commemorative displays.

This handcrafted ceramic vase by artist Julie Morrison features a stylized female bust in high relief, seamlessly integrated into the cylindrical form. Rich in texture and detail, the sculpture showcases Morrison's signature organic motifs, with applied ceramic leaves, naturalistic veining, metallic gold embellishments, and a hand-painted serene face. The earthy matte clay body is contrasted by glossy and metallic glazed accents, most notably at the top rim and facial adornments. The artist's signature, Julie Morrison, is incised into the side. A highly expressive and collectible studio art piece. Dimensions: 13.75″HDimensions: See DescriptionCondition: Age related wear.

A contemporary black stone sculpture made in Egypt, depicting the god Osiris in a traditional mummiform pose with the double crown of Upper and Lower Egypt. The figure has a serene expression and hands folded in a gesture of reverence. A smaller figure of Horus is carved in relief at the front, representing divine lineage and protection. The reverse side features vertical hieroglyphic-style inscriptions. A Made in Egypt label remains affixed to the base.Issued: 20th centuryDimensions: 17.5"HCountry of Origin: EgyptCondition: Age related wear.

Finely cast brass sculpture of an eagle in mid-flight perched atop a globe, with wings dramatically outstretched. The globe features detailed relief mapwork of the continents. The eagle's feathers, beak, and talons are intricately rendered, and the overall form conveys a powerful symbol of strength and watchfulness. The sculpture rests on a rounded brass pedestal base. Issued: 20th centuryDimensions: Approximately 21"L x 8"W x 25"HCondition: Age related wear.

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.

Ancient relief in Carrara marble with a Greco/Roman battle scene, in good intact condition, the sculpture has not required restoration over the years. Indicative shipping costs in Italy: 60€ and Europe: 120€. 45x74x6cm, XX century. Sculptures, Marble, Good condition - used with small signs of aging & blemishes. Tags: Rilievo di battaglia in marmo. Relieve de batalla de mármol. Relief de bataille en marbre. Marmorrelief einer Schlacht.

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 large rare carved oak fragment depicting The Resurrection and Ascension of Christ15th or early 16th century, Probably from a reredos screen or an elaborate pew endOf arched form, the pitched cornice mounted to one side with a kneeling figure above a gothic crocketed finial, the whole relief carved in the round with Christ ascending into stylised clouds above a figural group of six praying disciples, likely to include Peter, John and Mary Magdalene above a figure of Christ emerging from the tomb with his right hand raised standing over three sleeping soldiers, within open arched niches, later mounted on a patinated metal plinth base, 47cm wide, 11cm deep, 158cm high (18 1/2in wide, 4in deep, 62in high) height including plinth: 174cmFootnotes:ProvenanceWith Joanne Booth Antiques, London, where acquired by the present owner, 17 December 1993.Resurrection panels were a popular theme from the 15th century onwards, perhaps in part due to their link with the well known mystery plays that were performed to celebrate Easter. The unusual iconography featuring Christ stepping over a soldier seen in the present panel and in numerous other examples may have been influenced by such a play. One of the scenes in a known mystery play includes the following stage direction 'Jesus rising, crushes the soldier with his foot'.In the upper part of the panel, The Ascension is depicted with Christ's legs ascending into the clouds, a variation that became popular in Romanesque and Anglo-Saxon depictions of the Ascension across Northern Europe. Examples can be found in both paintings and sculpture and related examples in both disciplines include a carved alabaster relief of The Ascension executed in circa 1400 at the St Mungo Museum of Religious Life and Art in Glasgow and The Flemish school scenes from the Life of Christ, The Ascension held at Campion Hall, University of Oxford.It is also possible that the sculptor of the above lot took inspiration from Albrecht Dürer's (1471-1528) impressions of The Resurrection and The Ascension from the Small Passion, a series of 37 woodcuts executed in circa 1510. In plate thirteen, Christ is seen standing in front of the closed tomb, holding in his left hand a flag, blessing with his right hand with the guards sleeping in the foreground. In Dürer's plate depicting the Ascension of Christ, an empty tomb is surrounded by the apostles and the Virgin looking upwards to a cloud with Christ's legs visible.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

Michael Ayrton (British, 1921-1975)Invador signed with initials 'MA' and numbered '0/12' (to foot)bronze with a dark brown patina38.5cm (15in) high including base; 34cm (13 3/8in) high excluding baseConceived in 1972Footnotes:This figure was initially conceived as one component of a larger, multi-part composition, Troy Maze. Here the advancing warrior peers through a small, irregularly-shaped window of neutral density Perspex, cut through a wall of solid bronze. The Perspex is both reflective and transparent, so that the figure sees through a mirrored image of himself; on the other side of the wall is a maze-form cast in relief on the bronze. Invader developed from Troy Maze as a single figure, released, as it were, from the frustrations of maze and mirror. The prowling, predatory stance is as much a study in muscular tension as the Acrobats and Bathers of his earliest forays into sculpture, but this is a body honed, not for feats of gravity-defying balance, but for hunting and killing. Yet there is also a wariness about the figure which undercuts the implicit threat of violence - a thread of something vulnerable as well as savage, which the isolated form reveals in a way that was not apparent within the more complex composition. [As originally conceived, the figure stood on a base of polished black marble which produced an inverted reflection as if in a mirror or still water. This creates another layer of tension: if the invader should glance down, he would confront his own image looking back out of an infinite depth of blackness. Nietzsche famously commented that if one looks too long into the abyss one may find it looking back; a quotation which Ayrton regarded as yet another endorsement of his own preoccupation with mirrors and the human condition, here applied to the fragile boundary of success and insanity inherent in the soldier's trade.]We are grateful to Justine Hopkins for compiling this catalogue entry.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP 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 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.