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A Chinese gilt bronze censer and cover, late Ming Dynasty. Xuande mark, with elephant mask handles, the body with dragons amongst clouds in high relief, with pierced cover and scroll feet, height 15.5cm, width 19cm, depth 15.5cm.The Vandekar family established their internationally renowned antiques dealership in Amsterdam before moving to London in 1916. They specialized in the decorative arts of the 17th-20th century with a particular interest in 18th-19th century European and Chinese ceramics. In the 1970s and 80s, Michael Beard worked as a ceramics expert in the London showroom of Earle D. Vandekar of Knightsbridge, travelling internationally to trade shows and antiques fairs, and helping with the launch of the New York branch of Vandekar in 1982. There is no surprise that he leaves in his estate some beautiful examples of porcelain, ceramics, and objets d’art. When Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts and a devoted member of the Old Cornwall Society. On his death he has left a collection boasting some fine examples of Cornish painting, sculpture, studio pottery, and decorative chinoiserie. No damages. Weight of censer body 1702 grams. Weight of cover 318 grams.

AMELIA ROBERTSON PATON (SCOTTISH, 1821-1904) A MARBLE BUST OF A YOUNG WOMAN DATED 1860 Portrayed wearing classical style low cut wrap, head tilted wistfully up to her right, signed a to reverse AMELIA R. PATON SC EDINr 1860 approximately 58.5cm high, 46.5cm wide acrossProvenance: Formerly from the collection of Baroness Nancy Oakes von Hoyningen-Huene, daughter of Sir Harry Oakes, 1st Baronet, British gold mine owner, entrepreneur, investor and philanthropist.'Amelia Paton (1821-1904) was a largely self-taught sculptor of considerable ability. She could, probably should, have become our first woman member but sadly that was not to be. Robin Rodger; 'The Patons of Dunfermline'- Royal Scottish Academy, December 10, 2021.Amelia Paton was born at Dunfermline Park, Fife into an artistic family. Her brothers, Joseph Noel Paton, and Walter Hugh Paton, became famous painters and illustrators, respected by contemporary collectors, elevated by royalty and with a legacy of work that's embraced and celebrated by collectors. Amelia, denied official recognition within her lifetime, has yet to be celebrated in quite the same way.Her childhood was spent at the family home of Wooer's Alley, Dunfermline. She seems to have been largely self-taught, creating small miniature portraits and starting to learn the rudiments of sculpting through modelling in clay. It seems that her first tools were an ivory crochet-needle and a knife but eventually she was able to borrow better tools - from a plasterer.This foray into work as a sculptor was short-lived as first she fell ill, then her brothers left home, and her mother fell ill. She remained at home nursing her mother through her final illness until her passing and her father's remarriage. At the age of 39, she moved from her childhood home to live with her two brothers in at 33 George Square, Edinburgh, At this time it seems she started working from her own studio and trained as a sculptor under William Brodie. The crossover of taste from her brothers' works would have been almost osmotic. In 1860 she exhibited publicly for the first time when two of her busts appeared at the Royal Scottish Academy. It may be that this lot is one of these two busts titled simply as 'A Young Woman' and recorded by 'Bedouin' as worthy of note in his review of the 1860 exhibition 'the works(of sculpture) are few but of high merit' (MacPhail's Edinburgh ecclesiastical journal and literary review, Volumes 29-30 1861, pp. 188-189). It's almost certainly the earliest work in marble she may have exhibited.It has been suggested that a better possible title for this work might be 'The Lover'- as inspired by her brother Joseph Noel Paton's illustration of 1857 'Hesperus the Evening Star, Sacred to Lovers' (now held in The Kelvingrove Art Gallery and Museum, Accession number 1033). This work does seem to strongly accord with their portrayals of women of legend and myth influenced by Pre-Raphaelitism.In 1862, Amelia became the second wife of the celebrated artist and early photographer David Octavius Hill and went onto to exhibit over 60 sculptures at the Royal Scottish Academy, the Royal Academy, Glasgow Institute, the Royal Hibernian Academy and at the International Exhibition in Dublin in 1865. Her work tended to be studies of Arthurian and Shakesperean heroes, family friends, and notable figures such as the historian Thomas Carlyle, artist Sir George Harvey and physicist Sir David Brewster. Her skill and talent shone through, and she was commissioned to carry out several public statues, rare for a female artist of this period. Buoyed by the confidence shown in her by her husband and her brother Joseph Noel in 1868/1869 she sculpted a full length statue of the explorer David Livingstone, who sat for Amelia during the modelling, just prior to leaving the country for his final journey to Africa. Exhibited to great acclaim in London in the New Rooms of the Royal Academy in 1869 the figure now stands in Princes Street Gardens, Edinburgh and was described by William Sharp in 1902 as the 'the first work of sculpture done by a woman which has been erected in any public place in Britain'. Subsequent public commissions included the statue of Robert Burns commissioned by Dumfries town council in 1877, and three of the statues which adorn the Scott Monument in Princes Street Gardens, Edinburgh.Despite the patronage of two eminent brothers and her husband, Amelia still faced the constraints of Victorian attitudes at the time towards gender equality and was excluded from membership of the Royal Scottish Academy. In response she took matters into her own hands and in 1877 helped establish the Albert Institute of Fine Arts at Edinburgh's Shandwick Place, an artistic institution that did not discriminate on grounds of gender. Above the ornate doorway to the building, Amelia's relief portrait bust of Prince Albert and the figures of 'Sculpture and Painting' can still be seen.The 1891 census described Hill as 'sculptor, retired' but she continued to exhibit at the Royal Scottish Academy until 1902, aged 82. She died at her house, Newington Lodge, 38 Mayfield Terrace on 5 July 1904 aged 83.At the time of cataloguing there is no catalogue raisonné of her work. Only a handful of work by her has appeared at public auction- with half of them miniature portraits, another of her passions. Her work is little known to the wider general public but in the last twenty years her work has started to be reappraised, lauded and celebrated with several books featuring her life and work. In 2021, the bicentenary of her birth, a walking tour of her Edinburgh works was instigated as 'The Amelia Tour' by a descendant Cat Berry. Hopefully the appearance at auction of this very early, elegant and sensual bust by this neglected Victorian female artist, with its leanings to the Pre-Raphaelite movement, may help redress some of the lack of awareness of her life and work.Please follow this link for the full catalogue footnote. Condition Report: Mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some loss to lowest edge, small scuffs and some later colour marks to hair and neck. Under UV there are signs of remedial infill- whether this is from construction or later we cannot tell. These are scattered across mainly the flesh areas- also to the left hand ear that looks to have been pierced for earring and filled. Some natural flaws to stone notably to her right shoulder. Overall with some surface dirt Please see additional images for visual references to condition which form part of this condition report. Condition Report Disclaimer

A MURANO STYLE GLASS SCULPTUREModern The sculpture of contemporary relief moulded form, on a wrought iron stand, indistinctly signed, 58cm high overall

John Maltby (1936-2020), a ceramic sculpture of a bird catching a fish, ‘Bird on Wall’ signed to the ebonised wood plinth, 32.5cm high Provenance- receipt from 9A Hove place 09/05/2015Structurally good; relief-moulded monogram verso.

Willem van den Broeck, zug.1530 – 1579/80ANATOMISCHE BRONZE-STANDFIGUR DES HERKULESHöhe: 45 cm. Gesamthöhe inkl. Holzsockel: 53 cm.Bronzeguss, dunkle Patina. Auf runder, mitgegossener Plinthe, mit angewinkeltem rechten Bein an einem Baumstumpf, über den das Fell des Nemeischen Löwen, den er besiegt hatte, mit Löwenhaupt gelegt ist. Ein Teil des Fells mit Pfote zieht am linken Bein zum Boden. Der Kopf gesenkt, der Körper zeigt die Muskulatur offen, ein manieristischer Effekt, der dem Interesse an medizinisch-biologischen Erkenntnissen des 15. und 16. Jahrhunderts entspricht, seit Künstler wie Michelangelo oder Leonardo sich heimlich in Leichenhäusern der Anatomie gewidmet hatten. Die Figur entspricht weiteren Ausführungen, so etwa in Terrakotta, wie ein Exemplar im Kunsthistorischen Museum, Wien zeigt. Der Bildhauer ist zudem bekannt u. a. für drei Statuen in der Liebfrauenkathedrale in Antwerpen, wo er 1557 bereits Freimeister der Lukasgilde wurde. Ein Alabaster-Relief, „Kalvarienberg“, befindet sich im Louvre, ein „Garten Eden“ in Brüssel.Literatur: Vgl. Broeck, Guillaume van den, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL). Bd 14, München u. a. 1996. (1390213) (11)Willem van den Broeck, 1530 – 1579/80, attributedANATOMICAL STANDING BRONZE SCULPTURE OF HERCULESHeight: 45 cm. Total height incl. wooden base: 53 cm.Bronze casting with dark patina. On a round, cast-in plinth. Hercules´ right leg bent on a tree stump, over which the skin of the “Nemean lion”, which he had defeated, is laid with the lion´s head. The figure corresponds to other versions, for example in terracotta, as an example held at the Kunsthistorisches Museum in Vienna shows. Among other things, the sculptor is also known for three statues in the Cathedral of Our Lady in Antwerp, where he became a free master of the Guild of Saint Luke in 1557. An alabaster relief, Calvary, is held at the Louvre and a Garden of Eden in Brussels.

Figur eines Elefanten37 x 55,5 x 13 cm.Italien, 16. Jahrhundert.Auf sekundärem rechteckigen Eisensockel. In weißem Marmor gearbeitete, nach rechts gerichtete Skulptur en relief, einen Elefanten darstellend mit ausgestellten, fantasievoll-gearbeiteten fischflossenähnlichen Ohren, Stoßzähnen und herabgleitendem Rüssel. Wenige Witterungssp. (13622412) (13)Elephant sculpture37 x 55.5 x 13 cm.Italy, 16th century.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted aluminum 'Structurist Relief' sculpture titled "Untitled (#2)" depicting a three-dimensional geometric abstract composition in bright colors against a solid white background, 1989. Signed, dated 1989 and 1991, and titled along the verso. The artwork comes with a custom-built crate for shipping.Provenance: Private Minnesota Collection.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.Artwork; height: 43 in x width: 32 in x depth: 10 1/2 in. Crate; height: 55 1/4 in x width: 43 3/4 in x depth: 19 in.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted wood wall sculpture titled "Structurist Relief, New York #7," depicting a three-dimensional geometric composition in blue, yellow, and white, 1938. Incised signature, number, and date along the verso. Additionally inscribed "Copyright Charles Biederman 1978 // Made in U.S.A. // All Rights Reserved."Provenance: McCormick Gallery, Chicago; Private Minnesota Collection.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: 36 in x width: 24 in.

An unusual mixed media painted wall sculpture with relief tubular front, blues and yellows, length 88cm  

An antique brown bronze sculpture after Giambologna of Fortuna, raised on a relief cast circular base, 68 cm high overall

Duncan MacGregor (Born 1957) - 'Catching the Wave', bronze sculpture with black marble base, numbered 99/150, relief initials to the bronze base, complete with certificate of authenticity, boxed, height 59cm.

Peter Evans (Born 1943) - Abstract vertical and horizontal forms, painted relief sculpture, black painted laminated wood, signed and dated 1971 verso, framed, 90cm x 28.5cm, frame size 92cm x 31cm. NB - Evans was born in Birmingham and was elected a full member of the Royal Birmingham Society of Artists in 1990.

A "Rooster" toothpick holderSilverPerfect figure sculpture depicting a rooster perched on a sphere with CAL monogramResting on a terraced plinth with relief and chiseled decoration of foliage motifsFour zoomorphic feetLisbon assay mark (1822-1860) and makers mark attributable to Victor Acto Diniz (1825-1857)(wear signs)406 gLiterature:ALMEIDA, Fernando Moitinho de; CARLOS, Rita – “Inventário de Marcas de Pratas Portuguesas e Brasileiras (Século XV a 1887)”. Lisboa: IN-CM, 2018, L-42.0 e L-613;Height.: 23,5 cm

A selection of interesting items, including a Classical Roman style relief bronze cup, H17cm, a patinated bronze sculpture of a sheep, some Vintage wooden dominos in associated case, a Vintage pewter lamp with Medieval knight sculpture, an Oriental softwood figural lamp, etc

Possibly Burgos School. Early 16th century."Virgin with Child"Carved, gilded, and polychromed wood sculpture.55 x 30 x 19 cm.A piece brimming with classicism and elegance, this solemn and majestic early Renaissance enthroned Virgin with Child exudes a Roman-style matronly presence. Despite minor volumetric losses on the throne and the left arm of the Christ Child, the sculpture is in fairly good condition. Although it is in the round, it is not carved or polychromed on the back, indicating that it was probably part of an altarpiece, and possibly presided over it, given its theme and great quality.Despite the Virgin being seated on the throne, with the composition designed for a predominantly frontal view, the group lacks any hint of stateliness or rigidity. On the contrary, Mother and Son are depicted in highly dynamic positions, with Mary's legs at different heights and pointing in different directions. The dynamic and widely open folds of the garments contribute movement to the group, with any edges being smooth and rounded. The placement of the Christ Child at one side, playfully seeming to want to walk between the mother's legs, also adds dynamism. Both figures are remarkable in their refined elegance and idealised classicism, with very life-like physiology. In general, the composition of the group resembles that of the Virgin with Child that presides over the Epiphany scene in the altarpiece of the Adoration of the Magi at the church of San Gil in the city of Burgos, which was created in the early 16th century by the renowned Burgundian master Felipe Bigarny (ca. 1470-1542).Mary is seated on a low throne with an uncarved back, and only the side panels, decorated with exquisite stylised vegetation motifs in golden tones, are visible. The Virgin holds her son with both hands: with her right hand, she seems to protect him from falling backward, as he appears unsteady, while with her left hand, she seems to caress his hand. Mary wears black shoes, with only the tip barely perceptible. She is clad in a fine golden tunic that adheres to her body, revealing its contours—such as the bust, legs, and knees. The tunic covers her up to the neck, and the upper part of it is polychromed with a white background on which blue and red geometric motifs and delicate vegetation elements can be seen. It drapes down to her feet, featuring a red border with golden geometric motifs along the lower edge. She also wears a wide mantle covering her back and a significant part of her body, also in gold, except for the edges lined with a blue border with golden vegetation motifs. Mary has a serious and contemplative face, with an oval head and a hairstyle of wet-looking locks held by a ribbon arranged over the forehead. The facial features are very distinctive, with large almond-shaped eyes, straight eyebrows, an extremely long and narrow nose with a flattened bridge, and a tiny closed mouth.The child's carefree attitude contrasts with Mary's contemplative demeanor. Jesus, depicted naked, displays a truly childish and tender character, adopting a playful and affectionate stance, attempting to grasp his mother's hand with his left hand, unfortunately having lost the other. He stands on her lap, seemingly wanting to walk from her right knee to the left. His small head is very expressive, suggesting a slight smile. His eyes are very small, emphasising the prominent cheeks that widen his face. His mouth is closed, and the hair has little relief, being almost like a cap made of curved locks.Through the detail in the expression of the anatomy and clothing, the anonymous sculptor has created a sculptural group based on soft forms. There is an interest in rhythm, a sense of measure, and technical and anatomical correctness. The sculptural quality of the piece is significantly enhanced by the sumptuous gilding of the garments. Despite being unable to identify a specific artist as its possible creator, it appears clear, based on its stylistic features and the parallel it holds with the aforementioned work located in the church of San Gil in Burgos, that it could well have been carved by a master from the northern region of Castile, perhaps from Burgos. The piece shows a synthesis of the artistic styles of Bigarny and Siloe, although not quite reaching their extremely high degree of mastery. We would like to thank Dr. Javier Baladrón, art historian, for the identification and cataloguing of this work.

Harris, Julian Hoke (American, 1906-1987); b. Carrollton, TX U.S.A., Perpetuating the Ancient Art of Medallic Sculpture, 1970, a light bronze lozenge-shaped medal by J.H. Harris for the 40th anniversary of the Medallic Art Co, 40 superimposed on representations of the first and 80th medals in the Society series, rev. contrasting relief and intaglio impressions of owls of Athens, edge impressed julian h. harris. sc. medallic art co. n.y., 64mm, 152.38g (Alexander SP2.1, edge A; cf. Coin Galleries Oct. 2010, 2735). Mint state £30-£40 --- Provenance: bt Simmons, December 2002 Edition of 657. The competition to design a diamond-shaped 40th anniversary medal attracted over 200 entries from 77 different sculptors. The 7-person judging panel, including Elvira Clain-Stefanelli of the Smithsonian Institution, chose Mr Harris’ design and the result was announced on 15 November 1970. Mr Harris won $1,500 for his efforts and the medals, in silver and bronze, were all struck in December 1970.

Late Period, 664-332 B.C. Wearing a heavy wig over a rounded face with cosmetic lines and eyebrows in raised relief; vertical dorsal pillar with partial hieroglyphs to the reverse; some re-cutting, mounted on a custom-made display stand. Cf. Bothmer, B. V., Egyptian Sculpture of the Late Period, 700 B.C. to A.D. 100, New York, 1960, pls.45, no.111, and 55, no.136. 2.03 kg total, 20 cm high including stand (7 7/8 in.). Ex Jean-Paul Bourgis collection, Beaulieu-sur-Mer, France, 1980.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12128-213629. [A video of this lot is available to view on Timeline Auctions Website]

Karel APPEL (1921-2006) "Face" Relief sculpture, acrylic on wood. Collection of a former French art publisher who collaborated with artists such as Sam Francis, Arman, Corneille, Bram Bogart and Karel Appel. - Weight: 3.33 kg - Shipping unavailable - Sizes: H 510MM X L 360MM - At first glance: good condition

19th Cent. Chinese Qing period sculpture ivory with a nice patina and in the shape of a pumpkin, crowned with a branch with fruits and with a hollow at the front and back with a finely detailed scene in high relief with horsemen and figures - with European CITES certificate || Negentiende eeuwse Chinese Qing - sculptuur in ivoor met mooie patine in de vorm van een pompoen, bekroond met tak met vruchten en met aan de voor- en achterzijde telkens een uitholling met fijnuitgewerkt tafereel in hoog-relief met ruiters en personages - hoogte : ca 36 cm - gewicht : 4 kilogram - ca 1870/80 met Europees CITES certificaatThis item is not legal to sell in the UK.

Schule des Bildhauers JÖRG ZÜRN (1583-1635) "Heiliger Sebastian" 1620 Oberschwaben, Holz, vollrund und teilweise freiplastisch geschnitzt, farbigen Fassung, die qualitätvolle und ausdrucksstarke Skulptur zeigt das Martyrium des Heiligen Sebastian, der an einen kahlen Baumstamm gebunden und nur mit einem Lendentuch bekleidet, H: ca. 117 cm. Restaurierungsbedürtig. Dem Werk ist eine Expertise von Dr. Adolf Schal, Murrhardt vom 14. März 1980 beigegeben, in der Expertise wird die Figur in die Zeit um 1620 eingeordnet und mit den Arbeiten am Überlinger Schutzengelaltar verglichen. | School of the sculptor JÖRG ZÜRN (1583-1635) "Saint Sebastian" 1620Upper Swabia, wood, carved in the round and partly in relief, coloured paint, the high-quality and expressive sculpture shows the martyrdom of Saint Sebastian, tied to a bare tree trunk and clothed only with a loincloth, h: approx. 117 cm. In need of restoration. The work is accompanied by an expertise by Dr Adolf Schal, Murrhardt, dated 14 March 1980, in which the figure is dated to around 1620 and compared with the work on the Überlingen guardian angel altar.

Jacobi, Ritzi u. Peter: (1941 Bukarest - Düsseldorf 2022 u. 1935 Ploiesti). White textile relief-pair. 1978/79. Paar textile Wandreliefs. 90 x 85 x 20 cm, u. 100 x 67 x 20 cm. Verso Aufhänge Vorrichtung. Gewebt am Hochwebstuhl. Eingewebt sind sogenannte Textile Kabel aus Sisal, Kokosnussfaser, mit Baumwolle umwickelt, Grundgewebe aus Ziegenhaargarn. Verso jwls. angeheftete Stoffanhänger mit Sign., Datum u. von Peter Jacobi sowie Stempel des Künstlerpaares. Typisch für die frühen 1970er Jahre. Arbeiten von Peter Jacobi wurden in der Austellung "after Sculpture - Sculpture after" in Timisoara, als auch im Central Museum of Textiles in Lódz ausgestellt. Das Werk "Romanica II" wurde von der Tate Gallery of Modern Art angekauft. D

Augustus Saint-Gaudens (1848–1907) was an American sculptor renowned for his contributions to the Beaux-Arts movement and his iconic public monuments. Here are key points about Augustus Saint-Gaudens:1. **Birth and Early Years:** Augustus Saint-Gaudens was born on March 1, 1848, in Dublin, Ireland. His family emigrated to the United States when he was a child, and he grew up in New York City.2. **Artistic Training:** Saint-Gaudens received formal artistic training at the Cooper Union for the Advancement of Science and Art in New York. Later, he studied at the École des Beaux-Arts in Paris, France, under the renowned sculptor François Jouffroy.3. **Return to the United States:** After completing his studies in Paris, Saint-Gaudens returned to the United States in 1870 and established a successful studio in New York City.4. **Beaux-Arts Movement:** Saint-Gaudens played a significant role in the Beaux-Arts movement in the United States. This movement emphasized classical aesthetics and the integration of art into architecture.5. **Monumental Public Sculptures:** Saint-Gaudens created numerous public monuments, many of which are considered masterpieces. Notable works include the Sherman Monument in New York City, the Farragut Monument in Madison Square Park, and the Adams Memorial in Washington, D.C.6. **The Shaw Memorial:** One of Saint-Gaudens's most celebrated works is the Shaw Memorial, dedicated to Colonel Robert Gould Shaw and the 54th Massachusetts Regiment. This bronze relief commemorates African American soldiers who fought in the Civil War and is located on Boston Common.7. **Standing Lincoln:** Saint-Gaudens created a remarkable standing statue of Abraham Lincoln, known as the "Standing Lincoln" or "Lincoln the Man." This sculpture is located in Lincoln Park, Chicago, and is admired for its lifelike and contemplative portrayal of the president.8. **Double Eagle Gold Coin:** Saint-Gaudens also contributed to numismatics by designing the famous Double Eagle gold coin, considered one of the most beautiful coins in American history. The design features Lady Liberty striding forward.9. **Cornish Art Colony:** In the later part of his life, Saint-Gaudens established a summer studio in Cornish, New Hampshire, which became a hub for artists and intellectuals. The Cornish Art Colony contributed to the development of American art.10. **Teaching and Mentorship:** Saint-Gaudens was a dedicated teacher, and his studio in Cornish became a center for artistic education. Many notable artists, including sculptor Paul Manship, trained under his guidance.11. **Death:** Augustus Saint-Gaudens passed away on August 3, 1907, in Cornish, New Hampshire.Augustus Saint-Gaudens's legacy endures through his significant impact on American sculpture and the Beaux-Arts movement. His public monuments and sculptures continue to be admired for their technical skill, classical elegance, and historical significance.Measures 15.25 x 11.5 x 5.25.Hand patinated, bonded bronze.

A 19th century wax relief portrait of a gentleman, framed, H18.5cm overall, and a cast-bronze modernist sculpture, on marble plinth

Alice 'Zani' Jacobsen (American, 1928-1993) Plaster Relief Sculpture Undated, cast signature verso, artist label verso, individually cast sculpture of keystone possibly from '534 W Belden' Chicago Property from: a Private Collector, Glen Ellyn, Illinois Height: 13 inches, Width: 8 1/2 inches Condition: minor chips on edges Category: Fine Art > Sculptures Estimated Sale Time: 1:15 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

A FRENCH BRONZE RELIEF PLAQUELATE 17TH CENTURYdepicting a scene from a campaign, a General in the foreground directing his troops, with soldiers on horseback sighting a carriage, with a cityscape beyond and a river god in the lower right12.6 x 26.7cmProvenance Purchased Sotheby's, London, 22nd April 1986, European Sculpture, Works of Art and Ironwork, lot 119.Catalogue NoteSee similar reliefs in the Louvre modelled by Desjardins in 1681 for the pedestal of the statue of Louis XIV in the Places des Victoires, Paris, and Souchal, French Sculptors, p.255. The scene is possibly that of Marshal Turenne and the Duchesse de Longueville at the crossing of the Rhine at Wesel in 1646.

DESMOND MCNAMARA (IRISH 1918-2008) HUGH MACDIARMID  Metal relief sculpture, signed with initials and inscribed, 10cm (4") high From an edition of 3 Sold with a clay relief 'Envoi' by the same hand Condition Report:Item 1: Presents in good condition, possible slight stain to sheet, hairline crack on neck area, not examined out of frame. On item 2: small hairline crack on the right edge

Title: The Kiss. Beautiful detailing in this cast metal relief sculpture with brown patina designed by Art Nouveau and Art Deco master craftsman Rene Lalique. This high relief depicts a nude couple kissing passionately. The head of the male projects from the surface that is covered with deeply carved foliage with branches fully protruding from the relief. This outstanding piece was acquired directly from the private collection of the descendants of Rene Lalique and has never been offered publicly. This chief model's final product was a brooch cast in gold with blue enamel leaves and faces carved from ivory. An example can be found in Le Musee Calouste Gulbenkian in Lisbon. Artist: Rene Jules Lalique (French, 1860-1945)Issued: c. 1900Dimensions: 7.75"L x 7.75"H x 1.75"WCountry of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition: Age related wear.

Medium relief bronze sculpture that depicts a side view of stylized forms reminiscent of a flowering bulb with two wide petals. Beautiful patinated areas. Raised signature on verso: illegible. Issued: c. 1970Dimensions: 3""L x 3.25""H x 0.75""WCountry of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition: Age related wear.

Cuban Folk art papier mache sculpture that depicts a colorful center of a town with a high relief red painted car that projects in front of the Bodeguita del Medio, the famed restaurant-bar in Havana where the Mojito cocktail was invented. Issued: c. 1990Dimensions: 8.50"L x 12"H x 2"WCondition: Age related wear.

A framed Royal Doulton plate, boats in the lagoon, Venice, signed J Bailey, a porcelain relief of a courting couple in a pastoral scene, together with a sculpture of an embracing couple

Roger DESSERPRIT (1923-1985) Composition bas-relief lumineux, 1951 Assemblage de bois peint et système électrique, tableau-sculpture signé et daté sous la tranche inférieure. 101 x 52 x 8 cm Provenance : Collection particulière, Paris

Lt Winston S Churchill, 21st Lancers, Omdurman 2nd Sept 1898, composite relief moulded sculpture, mounted on wooden stand and backing with inscription, height 45cm, width 32cmGood condition, no damage or repairs

A SANDSTONE TORSO OF A YAKSHI, INDIA, MATHURA, KUSHAN PERIOD, 1ST-2ND CENTURYFinely carved standing in tribhanga, narrow-waisted and with a belly button, her arms raised, wearing a dhoti secured at the waist with a beaded belt, and folds falling down to the front, the arms with numerous bracelets, and a beaded necklace between her voluminous breasts.Provenance: From the Sally Hunter and Ian Posgate collection, Badgemore Grange, United Kingdom, by repute acquired in the London trade during in the 1980s or 1990s and thence by descent. RD collection, Paris, France, acquired from the above. Sally Hunter and Ian Posgate built their collection of paintings, objects, china, and furniture over the past 30 years in their home, Badgemore Grange. The property was bought in 1970 by Ian Posgate (1932-2017), an insurance underwriter at Lloyds of London. The couple shared a love for India and its decorative arts. They visited the subcontinent together many times and built a sizeable collection of objects, mainly through shops and salerooms in London. Condition: Very good condition, commensurate with age. Extensive wear and losses, dents, and nicks. Signs of weathering and erosion, minor structural fissures. Some remnants of soil.Weight: 12.3 kg (incl. stand) Dimensions: Height 42.7 cm (excl. base) and 47.3 cm (incl. base)Mounted to a metal stand. (2)The sense of dynamism and power in the stance, the masterful transformation of stone into the suppleness of youthful, voluptuous flesh barely interrupted by clothing, as well as touches of naturalism are all stylistic characteristics of female figures made during the early 2nd century.Yakshis are nature spirits and symbols of fertility and the depiction of them reveals the traditional Indian ideal of female beauty.Related sandstone reliefs of Yakshis dating back to the Kushan period, 1st and 2nd century, were found in a Buddhist stupa and monastery complex in the village of Sanghol. These stone figures and other artifacts from the Kushan period are now displayed in the Sanghol Archeological Museum, Punjab.Literature comparison:Compare a related sandstone bas-relief figure of Yakshi putting on a necklace, India, Mathura, Kushan period, 1st-2nd century, in the Sanghol Archeological Museum, Punjab. Compare a related sandstone figure of a female devotee, 74.5 cm, India, Mathura, Kushan period, 1st century, in the Cleveland Museum of Art, accession number 2012.19. Compare a related red sandstone figure of Yakshi, 44.3 cm, India, Mathura, Kushan period, in the Ackland Art Museum, object number 84.2.1. Compare a related sandstone figure of Yakshi Shalabhanjika, 119 cm, India, Mathura, 2nd century, in the Victoria and Albert Museum, accession number IM.72-1927. Compare the style of the belt to a figure published in Stanislaw J. Czuma, Kushan Sculpture: Images from Early India, Cleveland, 1985, p. 93, fig. 30.Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 8 May 2002, lot 511Price: EUR 14,340 or approx. EUR 20,000 adjusted for inflation at the time of writingDescription: An Indian, Kushan period, Mathura area, mottled red sandstone female torso, circa 2nd centuryExpert remark: Compare the related motif, pose, and color of the stone. Note the larger size (74 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2008, lot 260Price: USD 25,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A Yakshi mottled sandstone, Northern India, Kushan PeriodExpert remark: Compare the related pose and decoration. Note the smaller size (35.5 cm).

A RARE TERRACOTTA RELIEF DEPICTING AN ASURA, GUPTA PERIODEastern India, Bengal, 5th-6th century. Powerfully modeled, the asura standing in a dynamic pose with one leg crossed over the other, his face with a confident expression, perhaps mocking an unseen opponent, marked by his bulging wild eyes and the open mouth showing teeth, framed by a thick beard. He is wearing a short robe secured at the waist by a floral belt and adorned with jewelry. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, few structural cracks.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 14 September 2020, based on sample number C120e27, sets the firing date of one sample taken at between 900 and 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Academic Dossier: A detailed academic commentary on the present lot, elaborating on the meaning of the Asuras as well as the history of the Gupta Empire in general, and showing many comparisons to examples in both public and private collections, is available upon request. For a PDF copy of this dossier, please refer to the department.Weight: 4,507 g (excl. stand) Dimensions: Height 43 cm (excl. stand)With an acrylic glass mounting at the back and an associated metal stand. (2)The lively figure depicted in this terracotta fragment is probably an Asura, one of a group of gods who opposed but were ultimately defeated by the Devas, the gods who are central to Hindu and earlier Vedic beliefs; it is quite likely that the myths relating to the Devas and Asuras evolved from a single belief system. The legendary conflict may be based on a factual clash between two sects that existed in the post-Harappan period, when beliefs surrounding the Vedic gods and their associated social structure were challenged by revised ideas emanating from Iran, which ultimately died out or were driven away by the existing mainstream hierarchy in western India.Terracotta was the traditional material for religious images in the Ganges Valley and in the Mauryan and Shunga periods (3rd-1st century BC). Bengal had been the source of some of the most sophisticated figures of gods and goddesses. In the Gupta period, several centers of terracotta sculpture emerged across the Empire, from Akhnur in Kashmir, down to Shravasti and Bitargaon in Uttar Pradesh, around the Gupta capital at Pataliputra (Patna), and down into the Ganges Delta where some of the richest red clays were available. The lack of stone in eastern Bihar and Bengal meant that clay had always been used for architectural purposes, brick adorned with terracotta or stucco being the most widely used material, and a number of archaeological sites in Bengal attest to the sophistication of the effects achieved.Literature comparison: Compare a related terracotta relief depicting Krishna killing the horse demon Keshi, dated to the 5th century, in the collection of the Metropolitan Museum of Art, accession number 1991.300. Compare a related terracotta torso of a nobleman, dated 5th century, in the collection of the Michael C. Carlos Museum, Emory University, object number 2001.001.011. Compare a related terracotta relief depicting the battle between Hanuman and Indrajit, dated 6th century, in the collection of the State Museum, Lucknow, illustrated by M. C. Joshi and J. F. Farrige, L'Âge d'or de l'Inde Classique, L'Empire des Gupta, Paris, 2007.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A MONUMENTAL SCHIST FIGURE OF THE GODDESS HARITI, ANCIENT REGION OF GANDHARA 犍陀羅片岩浮雕鬼子母與般闍迦像Kushan empire, 2nd-3rd century AD. Wearing a long kaftan, trousers, and a heavily pleated shawl, Hariti's jewelry is comprised of anklets, rows of bracelets, earrings hanging from her elongated lobes, and necklaces with a large central torque decorated with rosettes. She wears a circular crown topped with a square structure carved with lotus-petal panels in relief above a foliate fillet on top of her finely incised waving hair, and in her two arms she holds four plump nude children, two beneath each breast with one breast covered and the other exposed.Provenance: Sotheby's London, 17 October, 1996, sale LN6645, lot 111. Kenneth P. Jackson, United Kingdom, acquired from at the above sale for a hammer price of GBP 50,000, equivalent to a purchase price of GBP 56,500 or EUR 163,000 (converted and adjusted for inflation at the time of writing). Condition: Condition commensurate with age and presenting remarkably well overall. Expected old wear, weathering and erosion as a result of extensive exposure to the elements across a time period of almost two millennia. Obvious losses, structural cracks, some of which show old fills, remnants of soil encrustations from burial.Weight: >250 kg Dimensions: Height 171 cm (excl. base) and 186 cm (incl. base) With a modern metal base. (2)This figure of Hariti, the Buddhist mother goddess, illustrates the unique amalgamation of cross-cultural influences present in ancient Gandhara. It also bears a distinct and early Hellenistic element almost never found in other sculptures from this period and region.Other figures of Hariti from the High Gandhara period are dressed in heavy robes in the classical manner, like the statue of the seated Hariti in the British Museum, registration number 1886,0611.1 (fig. 1). However, the present lot depicts Hariti in a kaftan, trousers, and a shawl, a concise style of clothing that exemplifies the Scythian influence on the Gandhara people during their rule of the neighboring region of eastern Iran in the 2nd and 3rd centuries AD. The Scythian style of clothing is known in detail from depictions along the palace walls of Apadana (fig. 2) from the Achaemenid period as well as from terracotta figures from the 2nd century AD.Even more remarkable is the flagrant early Hellenistic influence clearly visible in Hariti's headdress. The unusual yet characteristic iconography of it links Hariti directly to the Greek goddess Tyche, daughter of Zeus, and suggests she was a rare example of religious syncretism as a direct result of the Hellenistic period in the far east. The headdress of the present Hariti exemplifies this fact unlike most other depictions of the goddess.Tyche, the goddess of fate, became a prominent figure in the Greek pantheon under Alexander the Great. It was during Alexander's rule that Tyche came to embody the whims of fate. Her importance within the Greek pantheon is clear and can be seen in sculptures like the colossal head of Tyche next to Zeus and Apollo in Nemrut Dagi (fig. 3).Tyche's mural crown (fig. 4) identifies her as the protectorate of cities and links the founding of Sparta to the goddess's headdress according to S.B. Matheson (see The Goddess Tyche, Yale University Art Gallery Bulletin, 1994). Her iconography changed very little over the centuries during early Roman rule and even later depictions of the goddess in Constantinople's Hippodrome (fig. 5). The crown of the present Hariti with its two rows resembling lotus petals, is carved upright and straight, much like the walls of Tyche's fortress headdress. While much of it is worn away, Hariti's crown is topped by square carvings that closely resemble the crenelated battlement of Tyche's headdress.Historians have documented various examples of syncretism between Hellenistic cultures in the Far-East and Buddhism from the 5th century BC to the 4th century AD. This sculpture of Hariti, however, offers an even more unique example of not only cultural syncretism, but also religious syncretism as well. The story of Hariti itself involves the conversion of the goddess to Buddhism. One version of Hariti's story follows that Hariti had no children. Desperate to have children of her own, the goddess stole children from the locals and raised them as her own. The Buddha, aware of the suffering mothers of the lost children, took back one of the children from Hariti in secret. Amid her grief over the lost child, the Buddha came to her and taught the goddess empathy, showing her the sorrow of mothers from whom she took the children. Hariti subsequently converts to Buddhism, but her foreign origin and nature remains documented by the syncretism seen in the present sculpture.Literature comparison:Compare a related Gandharan relief of the goddess Hariti seated and holding a child, 61 cm high, dated 101-300 AD, in the Art Institute of Chicago, reference number 2016.58. Compare a related figure of Hariti with children, 132 cm high, dated to the 2nd century AD, in the Government Museum and Art Gallery, Chandigarh, accession number 1625. Compare a related large schist figure of Hariti with children from the Swat Valley in Gandhara, 125 cm high, dated 2nd-4th century, published by M Akira in Gandharan Art and Bamiyan Site, Tokyo, 2006, pp.114, nr. 86.Auction result comparison: Type: Related Auction: Bonhams London, 22 October 2019, lot 144 Price: GBP 187,562 or approx. EUR 282,000 converted and adjusted for inflation at the time of writing Description: A schist figure of Hariti, circa 2nd century Expert remark: Note the similar rosettes which appear on the face and headdress of this figure of Hariti and appear on the torque of the present lot. Note the size (95 cm). 犍陀羅片岩浮雕鬼子母與般闍迦像貴霜帝國，西元二至三世紀。鬼子母身著長袍、褲子和披著披肩；佩戴手鐲、耳環，飾有玫瑰花項鍊與叫連，她還戴著一頂圓形葉狀王冠，刻有蓮瓣，波浪捲髮。她雙手抱著四個孩童，胸前還有四個孩子。 來源：倫敦蘇富比1996 年10 月17 日，拍賣LN6645，拍品111；英國Kenneth P. Jackson在上述拍賣中以50,000 英鎊的落槌價購得，相當於購買價56,500 英鎊或163,000 歐元（換算後的價格，在撰寫本文時已根據通貨膨脹進行了調整）。 品相：狀況良好。有磨損、風化和侵蝕，明顯的缺損、結構裂縫，其中一些有填充物、埋藏時土壤結殼的殘留物。 重量：250 公斤 尺寸：高 171 厘米 (不含底座) 與 186 厘米 (含底座) 現代金屬支架. (2)文獻比較: 比較一件相近的西元101-300年犍陀羅鬼子母與般闍迦浮雕像，高61 厘米，收藏於芝加哥藝術博物館，館藏編號2016.58。比較一件相近的二世紀鬼子母與般闍迦像，132 厘米 高，收藏於昌迪加爾政府博物館和美術館，館藏編號1625。比較一件相近的二至四世紀犍陀羅斯瓦特谷鬼子母與般闍迦像，高125 厘米，出版於Akira，《Gandharan Art and Bamiyan Site》，東京，2006年，頁114，編號86。 拍賣比較： 形制：相近 拍賣：倫敦邦翰斯，2019年10月22日，lot 144 價格：GBP 187,562（相當今日EUR 282,000） 描述：約二世紀片岩浮雕鬼子母與般闍迦像 專家註釋：請注意類似的玫瑰花結出現在鬼子母的臉部和頭飾上。請注意 尺寸 (95 厘米)。

AN EXTRAORDINARILY RARE AND SPECTACULAR TERRACOTTA RELIEF OF A THINKING PRINCE SIDDHARTA UNDER THE BODHI TREE, ANCIENT REGION OF GANDHARA 犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 4 February 2019, reference no. 116L, 117L. The result is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Expert's note: The frescoes painted to the two columns on the present sculpture display a decidedly Chinese influence. Numerous such mural paintings have been found in Imperial tombs in China dating to the Northern Qi period (550-577), but the paintings on the present sculpture are among the oldest Buddhist frescoes in the history of mankind. They are also closely related to the paintings on the ceilings and walls of the Ajanta Caves, which were painted between 200 BC and 600 AD, and are the oldest known frescoes in India. They depict the Jataka tales, stories of Buddha's life in former existences as a Bodhisattva. The narrative episodes are shown one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819.Kushan period, 4th-6th century. Superbly modeled, Prince Siddharta is standing in contrapposto, his feet resting on two small lotus pedestals, a prostrate caparisoned elephant at his feet. One hand resting on his waist and the other raised with one finger placed on his forehead in a deeply pensive expression. He is wearing loose-fitting robes cascading in voluminous folds and richly adorned with fine jewelry and billowing scarves. His serene face with heavy-lidded almond-shaped eyes and slender lips forming a calm smile. The hair arranged in wavy locks secured by an elaborate floral headdress. All below a canopy representing the legendary bodhi tree.Provenance: A private collection in Venice, Italy, acquired in the Italian antiques trade between 1985 and 1992. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Superb condition, commensurate with age and presenting magnificently overall. Some wear and weathering, firing flaws as expected, some nicks and cracks, losses to exposed areas, remnants of old varnish. The ancient pigments are remarkably well-preserved. Overall, fully consistent with the high age of this sculpture and with no visible signs of repairs or touchups worth mentioning. Drilled holes from sample-taking. Dimensions: Size 59 x 81 cm (excl. stand), Height 63 cm (incl. stand)Mounted on an associated stand. (2)Prince Siddharta is flanked by two flying apsaras as well as Maitreya to his right and Padmapani to his left, the bodhisattvas each standing on lotus pedestals and similarly dressed, Padmapani holding a lotus flower in his hand, both backed by halos and standing below similar leafy canopies, all framed by two massive columns, each with a superbly painted fresco, depicting a bodhisattva with a halo.This sculpture is a perfect example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE. It represents the bodhisattva who will be born as the historic founder of Buddhism, Prince Siddhartha, sitting in a celestial abode called the Tushita heaven, where he teaches the gods and meditates on his future birth. Like other Gandharan bodhisattvas, he looks like an earthly prince, richly dressed and bejeweled.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the 1st century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired earthenware instead of stone such as schist, marble or sandstone became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such a large and expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this spectacular size have ever been recorded.Literature comparison: Compare a related terracotta sculpture of a pensive Prince Siddharta, dated 4th-6th century, in the collection of the Dallas Museum of Art, object number 2010.17. Note the similar pose with one finger placed on his forehead and one foot resting on a separate lotus pedestal.犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖貴霜王朝，四至六世紀。高浮雕菩提樹下悉達多太子，一手扶頭，正在沉思，雙腿成休閑姿，兩腳分別踩在小蓮花座上，身下伏著一頭大象。他穿著寬鬆的外袍，衣紋線條流暢，佩戴精美珠寶。面容沉靜，雙眼微閉，微笑，彎曲的頭髮由精緻的花卉頭飾固定。科學檢測報告：米蘭Arcadia，Tecnologie Per I Beni Culturali 研究所2019年2月4日出具的熱釋光檢測報告，編號116L，117L。結果表明年代與上述建議相符。隨附檢測報告複印件。 專家注釋：這件有明顯的中國風格影響。在北齊時期（550-577）的中國皇陵中發現了許多這樣的壁畫，但現在浮雕上的故事是最古老的佛教故事之一。它們還與阿旃陀石窟的穹頂與牆壁上的繪畫密切相關，這些繪畫創作於公元前 200 年至公元 600 年之間，是印度已知最古老的壁畫之一，描繪了本生故事，佛陀的前世生活故事。自 1819 年該遺址被發現以來，他們一直是該主題研究的核心領域。 來源：義大利威尼斯私人收藏，1985至1992年間購於義大利古玩市場。貝加莫 Leonardo Vigorelli購於上述收藏。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況極佳，與年齡相稱。一些磨損和風化、燒製缺陷，一些刻痕和裂縫，有清漆的殘留。彩繪保存極好。總體而言，與這座雕塑的年代相符，沒有明顯的維修或修飾，有取樣鑽孔。 尺寸：59 x 81 厘米 (不含底座)，高63 厘米 (含底座)有底座。 悉達多太子的兩側各有一位飛天，右邊是彌勒佛，左邊是蓮花生大士，菩薩站在蓮花座上，衣著相似，蓮花生大士手持蓮花，後有光背，兩側兩根巨大的柱子支撐著頂部，柱壁上有一幅描繪菩薩的彩繪。這個雕塑是公元一世紀犍陀羅王國多元文化相互作用和混合藝術風格的完美結合的典範。 犍陀羅王國從公元前 530 年到公元 1021 年，當時它的最後一位國王被自己的軍隊殺害。它橫跨今天的阿富汗和巴基斯坦的部分地區。犍陀羅以其獨特的佛教藝術風格而聞名，它的風格融合了希臘、敘利亞、波斯和印度的藝術元素。犍陀羅風格在一世紀至五世紀的貴霜時期蓬勃發展並達到頂峰。在公元一世紀，犍陀羅是最早的佛教造像的發源地。 在公元四至六世紀末的犍陀羅時期，使用硬燒陶器代替片岩、大理石或砂岩等石頭開始流行。燒製粘土在該地區很昂貴，因為燒製過程所需的木材稀缺。 所以，這麼大型的佛像，本來就是一件極有功德的供品。只有少數這個時期的這麽大尺寸的陶像有記錄可循。文獻比較： 比較一件相近的公元四至六世紀紅陶浮雕悉達多王子坐像，收藏於達拉斯藝術博物館，館藏編號 2010.17。請注意相近的姿勢，例如一指撐頭和一腳踏在另一朵蓮座上。

A BLACK STONE FIGURE OF DURGA MAHISHASURAMARDINI, PRE-ANGKOR PERIOD, KHMER, 7TH CENTURYOpinion: Looking at Phnom Da style sculptures, one can see a great degree of cross-cultural influence. While one could argue that this sculptural style is distinctly of Khmer origin, with such early sites present in Vietnam, we are more likely seeing the spread of sources of foreign cultural influence, bringing things like Hinduism, coming from outside the region and merging with local cultures. Certain attributes of this sculpture in particular can be seen in early Gupta sculpture, such as the 4th century Harihara in the National Museum of New Delhi. It is also interesting to note that the earliest known written texts in Southeast Asia are from Vietnam, written during the 4th century, predating the first Khmer texts by hundreds of years.Finely carved in relief with four arms holding symbols of power, positioned above the severed head of a buffalo, with a tall crown and pendulous earlobes, backed by a striated nimbus.Provenance: Spink & Son, London, by 2 November 1999 (according to Christie's record). Christie's New York, 20 September 2000, lot 154 (according to Christie's record). Property from a West Coast collection, acquired from the above (according to Christie's record). Christie's New York, 13 September 2016, lot 245, estimate of USD 30,000 or approx. EUR 34,000 (converted and adjusted for inflation at the time of writing). Michael Phillips, acquired from the above in an after-sale transaction. A copy of a Christie's record, accessed on 1 October 2018, confirming the provenance above, and stating an after-sale purchase price for the present lot of USD 18,750 or approx. EUR 21,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, old fills.Dimensions: Height 89 cm (excl. stand) and 97 cm (incl. stand)Mounted on an associated stand. (2)Mahishasura was a shape-shifting king who was granted the power of immortality by Lord Brahma. After years of tormenting his people, he was vanquished by a manifestation of the demon-fighting form of Parvati known as Durga. Durga fought Mahishasura over a period of fifteen days during which he kept changing his shape into different animals. She finally vanquished him when he took the form of a buffalo, slaying him with her trident. It is just after this victorious moment that we see Durga depicted here, with the severed head of Mahishasura laying at Durga's feet and her four arms holding the conch shell, the wheel, the ball, and the club, symbolizing the powers given to her by Vishnu. It is an ancient story of good versus evil.Literature comparison:Compare with a stone image of a female deity from the Da Nang Museum of Cham Sculpture, exhibited in Arts of Ancient Viet Nam: From River Plain to Open Sea at the Houston Museum of Fine Arts, both statues showing an unusual and rare striated nimbus. Also, compare with a stone image of a reclining figure of Vishnu in the Da Nang Museum of Cham Sculpture, both statues showing very similar facial characteristics.Auction result comparison:Type: Closely RelatedAuction: Christie's New York, 13 September 2016, lot 249Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A gray sandstone figure of Durga Mahishasuramardini, Khmer, pre-Angkor period, Phnom Da style, 6th centuryExpert remark: This is an important comparable of Durga from an early period in Southeast Asian history, not only because it is “rare to find a sculpture of the demon-slaying goddess from the pre-Angkor period” (as noted in the catalog description for the lot), but also because it was in the same Christie's sale. Note the much smaller size (51.5 cm).

A RARE AND LARGE ANDESITE TORSO OF BUDDHA AMITABHA, CENTRAL JAVANESE PERIOD, SHAILENDRA DYNASTYExhibited: The Asian Sculptor's Eye, The Rotunda, Hong Kong, 21 August 1995Java, circa 9th century. Powerfully carved seated in dhyanasana, his hands lowered in dhyanamudra, dressed in a sheer sanghati elegantly draped over the left shoulder and gathered in folds under the ankles. Provenance: Ha Tuc Can, The Sculpture Gallery, Hong Kong, before 1990. The Roger Moss Collection, acquired from the above, for the equivalent of EUR 17,000, and thence by descent to Hugh Moss. Ha Tuc Can came from a privileged Vietnamese noble family. However, the ravages of war left his family bankrupt and stripped them of their wealth. In the early 1960s, he embarked on a career as a war correspondent and cameraman for CBS. During this time, he forged a close friendship with Morley Safer. In his later years, Ha Tuc Can gained recognition as a filmmaker and antiquarian. He authored several books on Vietnamese arts and participated in joint exhibitions with Jean-Michel Beurdeley in Paris. In the late 1970s, he started a business called The Sculpture Garden in Hong Kong. C. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Fully commensurate with age, extensive weathering and erosion, encrustations, and losses.Weight: 86 kgDimensions: Height 61 cm The drapery of the robe as well as the manner of carving of the hands and feet is consistent with central Javanese period images of Buddha from temple sites. The purpose of these images of Buddhas is to represent the stages of the path to enlightenment in Buddhist cosmology. As visitors to temples ascend through the different levels, they are guided through the process on a symbolic journey from the realm of desire to the realm of form and finally to the realm of formlessness, ultimately reaching enlightenment at the summit.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Plaosan in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison:Compare a closely related statue of Buddha Amitabha, dated first half of the 9th century, in the Metropolitan Museum of Art, accession number 1995.256. Note the identical posture, especially with regards to the arms, folds of the robes, concave nature of the soles of the feet, and the treatment of the folded hands.

A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTY 北齊大型漢白玉立佛殘件China, 6th century. Depicting a standing Buddha, dressed in loose robes draped over both shoulders and elegantly falling in stepped folds flaring at the hems in stylized pleats, the robe open at the chest to reveal the tied underskirt. The overall simple and naturalistic style clearly dates it to the later sixth century. Clinging tightly, the diaphanous drapery reveals the elegant body's form, characteristically indicated by incised lines and relief ridges.Provenance: Old Italian private collection, acquired 1971 from Wing Tat Hong Gallery, Hong Kong. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses, nicks and surface scratches, minor cracks. Remnants of ancient pigment. Displaying supremely. Dimensions: Height 92 cm (excl. base) and 101.5 cm (incl. base)Mounted to a modern metal base. (2)Expert's note: This magnificent sculpture embodies a profound spirituality achieved through the remarkable plasticity of drapery and form. The figure represents a standing Buddha and the monk's robes, which he wears, are arrayed to cover both shoulders. The size, sensitivity of carving, crisp treatment of the gracefully draped folds, both those falling in parallel curved lines down the front of the subtly indicated body and those of the hem, closely relate this figure to other imposing white marble statues of a similar date.Only occasionally encountered among Chinese Buddhist sculptures, white marble first rose to popularity during the Northern Qi period, when sculptors occasionally carved Buddhist images in beautiful white marble from Dingzhou, in southwest Hebei province. Although a quarry site can never be taken as the probable site at which a particular image was sculpted, the use of white marble nevertheless suggests that this extraordinary sculpture might have been carved in the vicinity of Dingzhou, likely in Hebei or Shanxi province.Faint traces of polychromy, evident on the shoulders, suggest that the sculpture was once entirely painted, as were virtually all early Indian and Chinese Buddhist sculptures in wood and stone. The brilliant pigments of the sculptures and wall paintings at Dunhuang, in Gansu province, suggest that the original colors of this Buddha would have been stunning.If the missing right arm was raised in the abhayamudra, then the left might have shown a variation of the varadamudra, the gift-giving gesture, also associated with preaching. Moreover, if the right arm displayed the abhayamudra then the present sculpture likely represented either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light, in a preaching mode. Because the sculpture lacks an identifying inscription, not to mention its right arm and any distinguishing iconographic attributes, the exact identity of this Buddha likely will remain an enigma.Literature comparison:Compare a related figure of Amitabha Buddha in the Royal Ontario Museum, illustrated in Homage to Heaven, Homage to Earth, 1992, p. 163, pl. 92. Compare a related figure illustrated in Chinese Marble Sculptures of the Transition Period, B.M.F.E.A., no. 12, Stockholm, 1940, pl. II (b). Compare a related sculpture in the Eskenazi exhibition Sculpture and ornament in early Chinese art, London, 11 June to 13 July 1996, no. 31.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 203Price: EUR 101,575 or approx. EUR 143,500 adjusted for inflation at the time of writingDescription: A Chinese stone torso of Buddha, Northern Qi dynasty Expert remark: Compare the closely related pose and manner of carving with similar diagonal pleats. Note the size (148 cm).北齊大型漢白玉立佛殘件中國，六世紀。立佛左右臂貼身，從肘部起殘缺，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：義大利私人舊藏，1971年購於香港Wing Tat Hong 藝廊；貝加莫Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況良好，與年齡相稱。大面積磨損、風化和侵蝕跡象、結殼、缺損、刻痕和表面劃痕、輕微裂縫。顏料殘餘。 尺寸：高92 厘米 (不含底座)，總101.5 厘米 現代金屬底座。 低開領的通肩袈裟，此尊像背面袈裟表面以彩繪方式，繪出袈裟的框格裝飾，表現福田相。遒勁流暢的陰刻衣紋，這種「薄衣貼體」的造像風格，是北齊時期造像的一大特色。造像肩上明顯的多色痕跡表明該雕塑曾經完全上色，幾乎所有早期的印度和中國佛教木石造像都是如此。甘肅敦煌的雕塑和壁畫色彩絢麗。漢白玉在中國佛教雕塑中并不常見，在北齊時期開始流行，當時河北省西南部定州的偶爾使用漢白玉製作佛像。漢白玉造像可能是在定州附近雕刻的，可能在河北或山西省。 文獻比較： 比較一件相近阿彌陀佛像，收藏於Royal Ontario博物館，見《Homage to Heaven，Homage to Earth》，1992年，頁163，編號92。比較一件相近的雕像《Chinese Marble Sculptures of the Transition Period》，B.M.F.E.A.，編號12，斯德哥爾摩，1940年，編號II (b)。比較一件相近雕像，展覽於Eskenazi，《Sculpture and ornament in early Chinese art》，倫敦，1996年6月11日至7月13日，編號31。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2004年5月12日，lot 203 價格：EUR 101,575（相當於今日EUR 143,500） 描述：北齊立佛石雕殘件 專家評論：比較非常相近的姿勢、衣袍的類似於對角線的摺痕。請注意尺寸(148 厘米)。

Frederick Hart (American, 1943-1999), ‘ Illuminata III ‘ (1999) clear acrylic resin sculpture. Edition 661/850. Large resin sculpture relief of two lovers with additional ghostly figures. Signed ‘ Hart ‘ to lower left. Complete with two books ‘ Frederick Hart – Changing Tides ‘ (Hudson Hills Press, New York, 2005) & Frederick Hart – Sculptor (Hudson Hills Press, New York, 1994), alongside original purchase paperwork with purchase price of $6,850. Also with rotating stand for sculpture. Hart was an American sculptor. The creator of hundreds of public monuments & private commissions. Hart modelled his figurative style on the dramatic poses and sensuous expressions that he admired in the work of the Italian sculptor Gian Lorenzo Bernini. Producing works in the developing field of acrylic resin.

Saint Thomas Aquinas, gilt and polychrome wood sculpture, painted and gilt wooden base en relief "Chinoiseries", Portuguese, 17th C. (2nd half), adapted hand, a finger and part of the base missing, faults on the polychrome, gilt 833/1000 silver later nib with Lisbon Javali mark (1887-1937), Dim. - (escultura) 32 cm; (total) 38,5 cm; Peso - (pena) 11 g.

LUIZ FERREIRA - 1909-1994, A snail, 833/1000 silver sculpture en relief, application of mother-of-pearl shell and Mediterranean coral beads, Portuguese, marked LF, Porto Águia mark (1938-1984), Delmar Gomes Pinheiro maker's mark (1945-1981), Dim. - 9,7 x 23,5 x 8,8 cm; Peso - (bruto) 238 g.

A snail, 833/1000 silver sculpture en relief, mother-of-pearl shell application, black decoration, Portuguese, signs of use, minor defects, Porto Águia mark (1938-1984), Dim. - 15,5 x 35 x 11,3 cm; Peso - (bruto) 354 g.

After Henry Alfred Pegram RA, British, 1862-1937, a pair of bronze relief plaques from organ pedals, early 20th century, with winged cherub heads, one cast TVBA CHOIR GREAT, the other PEDAL SOLO SWELL, one inscribed H PEAGRAM Ft 1903, 25.5cm high, 29.5cm wide; together with a bronze portrait relief of Margaret Marion Brock, after Henry Alfred Pegram, with cast inscription MARGARET MARION BROCK AGED XIX MONTHS / HENRY PEGRAM FECIT 1915, in an oak frame, 22.5cm diameter, 37 x 36.8cm overall (3)Provenance: The Property of the Late Reverend John Watson.           Footnotes: Note: Henry Pegram was a British sculptor and exponent of the New Sculpture movement.  He worked as an assistant to Hamo Thornycroft and became a full Royal Academician in 1922.  Pegram was a cousin to the Brocks of Cambridge, a family of artists in Cambridge.  The portrait relief in the current lot is likely to be the daughter of the sculptor Thomas Brock, also an influential figure in the New Sculpture movement.

An English 'New Sculpture' gilt and patinated bronze relief entitled 'Gloria', early 20th century, depicting the head of a lady with laurel wreath and diadem with winged angels with swords flanking a radiating sun, above a winged angel holding a wreath and a wheat sheath behind a draped banner inscribed GLORIA, with cast date and signature 1902 / J HERBERT HART, on square rouge griotte base, 38cm high overallProvenance: Phillips, Oxford, The Elms, Brampton, March 1997.                      The Property of the Late Reverend John Watson.      

An English 'New Sculpture' plaster portrait relief of a young girl entitled 'Annie', c.1890, with gilt inscription ANNIE, and a dolphin to the lower edge, 35.5cm diameterProvenance: With William Agnew, Grosvenor House, June 2006.                      The Property of the Late Reverend John Watson.      

After John Henning, British, 1771-1851, an electrotype relief plaque after Raphael's cartoon 'The Miraculous Draught of Fishes', second quarter 19th century, with cast inscription AFTER RAPHAEL / HENNING 1802 SEPTR 12 LONDON, with a plaque with The Draught of the Fishes from Luke Verse 80, 17.3 x 21.3cm; together with two electrotype plaques, after John Hancock, British, c.1825-1869, depicting Christ entering Jerusalem and The Road to Calvary, each with cast signature 1849 JOHN HANCOCK Sculpture and JOHN HANCOCK 1851, 27.2 x 69.5cm and 26.5 x 66.5cm (3)Provenance: The pair of plaques after Hancock purchased from Joanna Barnes Fine Art, London.                      The Property of the Late Reverend John Watson.        

Ernst Barlach (1870 Wedel - 1938 Rostock)'Lachende Alte', Entstehungszeit des Modells um 1936/37, Bronze, goldbraun patiniert, 21 cm x 31 cm x 12 cm, im Guss signiert, Gießerstempel 'H NOACK BERLIN', Literatur: Wvz. Laur 605, mit Abb. S. 267/Schult 483, mit Abb. S. 252. Weiterführende Literatur (jeweils anderes Exemplar): Isa Lohmann-Siems/Gunhild Roggenbuck: Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Plastiken, Handzeichnungen und Autographen, Hamburg 1977, Nr. 68. Heinz Spielmann: Stiftung und Sammlung Rolf Horn, 2. Aufl., Schleswig 1995, Nr. 129. Anita Beloubek-Hammer: Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, S. 18, 154f. Ernst Barlach fokussierte sich in seinen Plastiken nahezu ausschließlich auf die menschliche Figur. Sein Ziel war es keineswegs ein Ideal zu erschaffen, sondern seinen Figuren einen zutiefst menschlichen Ausdruck zu verleihen und so ein lebendiges Bild des zeitgenössischen Menschen in all seinen Facetten des Alltags zu kreieren. Der Bildhauer erschuf den Menschen nicht neu, sondern formte ihn so, wie er ihn selbst sah und empfand. Vom Jugendstil inspiriert, fand Barlach seine ganz eigene und unverwechselbare Formensprache. Insbesondere die Russlandreise, die der Künstler 1906 unternahm, hatte eine prägende Wirkung auf sein Leben und Werk.Fröhliche Gesichter sind im Oeuvre Barlachs nur zweimal zu finden: im "Singenden Jüngling" von 1928/30 und in der befreit lachenden Alten, aus den Jahren 1936/37. Die hier angebotene Lachende Alte zeugt von einer offensichtlichen seelischen Erleichterung, die der sonst sehr ernste Künstler zuweilen selbst empfand. Er selbst sagte: "Manchmal scheint eine grundlose Heiterkeit sich aus Himmelhöhen directement herabzulassen auf den Boden der gewohnten Depression zu erweichen, die ihre Trübseligkeit dann von neuem Aufbauen muss, wenn sie es nicht lassen kann." (Friedrich Droß (Hg.): Ernst Barlach, Briefe, München 1968, Bd. II, S. 776). Schmucklos, ohne viele dekorative Elemente modellierte Barlach eine ältere Dame, die aus vollem Herzen und tiefster Kehle lacht - ein Urgefühl der menschlichen Psyche und doch etwas so Besonderes in den schweren Zeiten der 1930er Jahren. Für einen kurzen Moment scheinen alle Lasten und die allgegenwärtige Schwermütigkeit von der Dame abgefallen zu sein. Die Plastik besticht besonders durch die große Natürlichkeit ihres Ausdrucks, denn die reine Emotion, das Temperament der Alten und ihre expressive Gefühlslage stehen im Vordergrund. Keine überflüssigen Details sollen von diesem kurzen Moment der Unbeschwertheit ablenken. Stattdessen scheint sich die Plastik regelrecht aus dem Lachen der Alten zu formen. Ihr ganzer Körper wiegt sich überschwänglich nach hinten und scheint fast schon zu brechen, während sie mit weit verzerrtem Mund aus vollem Halse lacht.Auch wenn die Lachende Alte dem Spätwerk Barlachs entspringt, ist sie doch elementar für sein Gesamtwerk und veranschaulicht meisterhaft sein Können, wenn es um die Umsetzung menschlicher Emotionalität geht.Ernst Barlach (1870 Wedel - 1938 Rostock)'Laughing Old Woman', date of origin of the model c. 1936/37, bronze, golden brown patina, 21 cm x 31 cm x 12 cm, signed in the casting, foundry stamp 'H NOACK BERLIN', literature: Cat. rais. Laur 605, with ill. p. 267/Schult 483, with ill. p. 252. Further literature (different specimen in each case): Isa Lohmann-Siems/Gunhild Roggenbuck: Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Plastiken, Handzeichnungen und Autographen, Hamburg 1977, no. 68. Heinz Spielmann: Stiftung und Sammlung Rolf Horn, 2nd ed., Schleswig 1995, no. 129. Anita Beloubek-Hammer: Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, pp. 18, 154f. Ernst Barlach focused almost exclusively on the human figure in his sculptures. His aim was by no means to create an ideal, but to give his figures a deeply human expression and thus create a vivid image of contemporary man in all his facets of everyday life. The sculptor did not recreate man, but shaped him as he himself saw and felt him. Inspired by Art Nouveau, Barlach found his very own and unmistakable formal language. In particular, the trip to Russia that the artist undertook in 1906 had a formative effect on his life and work.Happy faces can only be found twice in Barlach's oeuvre: in the Singing Youth from 1928/30 and in the liberated Laughing Old Woman, from 1936/37. The Laughing Old Woman offered here testifies to an obvious spiritual relief that the otherwise very serious artist himself sometimes felt. He himself said: ''Sometimes a causeless cheerfulness seems to descend directement from the heights of heaven to soften the ground of habitual depression, which then has to build up its gloom anew when it cannot let it go''. (Friedrich Droß (ed.): Ernst Barlach, Briefe, Munich 1968, vol. II, p. 776). Unadorned, without many decorative elements, Barlach modelled an elderly lady laughing from the bottom of her heart and throat - a primal feeling of the human psyche and yet something so special in the difficult times of the 1930s. For a brief moment, all the burdens and the omnipresent melancholy seem to have fallen away from the lady. The sculpture is particularly captivating because of the great naturalness of its expression, for the pure emotion, the temperament of the old woman and her expressive emotional state are in the foreground. No superfluous details are meant to distract from this brief moment of light-heartedness. Instead, the sculpture seems to literally form itself out of the old woman's laughter. Her whole body sways exuberantly backwards and almost seems to break as she laughs at the top of her lungs with her mouth wide open. Even though the Laughing Old Woman originates from Barlach's late work, it is elementary to his oeuvre as a whole and masterfully illustrates his skill when it comes to translating human emotionality.

Rhombus shape lead relief sculpture that represents an abstracted wide-eyed horse galloping on a geometric landscape. Etched on lower left: 16/25. On lower right: J. Groody. Housed in a silver color frame with brown matting. Frame size: 9.50"L x 11.40"H x 1.50"W. Relief size: 5.25"L x 5.50"H. Issued: c. 1980Edition Number: 16 of 25

A large German walnut schrank or wardrobeEarly 18th century but apparently with some later elements and/or timbersThe stepped and shaped top with an ogee and cavetto moulded cornice centred by a scrolled acanthus, floral, foliate swagged and eagle carved cresting with a central coat of arms-embedded cartouche held aloft by a pair of opposing cherubs above the date: '1634', surmounted by a coronet, over a pair of shaped raised moulded panelled doors with re-entrant angles and shaped spandrels, each carved with an allegorical figure, interspersed by cherub mask headed Corinthian pilasters each carved in relief with ribbon tied and tasselled putti, entwined berried foliage and flowerhead carved pendant, with two deep raised moulded panelled drawers below, interspersed by three moulded relief carved putto tablets, on massive octagonal baluster shaped supports, the reverse of the doors inlaid with six engraved ivory tablets variously depicting crests, coats of arms and a bust of 'Johannes Casimirus', approximately: 262cm wide x 110cm deep x 267cm high, (103in wide x 43in deep x 105in high)Footnotes:A very similar North German schrank to the offered lot, one evidently made in Lubeck, sold Christie's, London, Fine European Furniture, Tapestries and Carpets, 25 March 1999, lot 183. Another comparable sold Christie's, London, 5 November 2009, Important Early European Furniture, Sculpture and Tapestries, lot 260. The latter wardrobe was described as originating from Hamburg, also located in North Germany.The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref TD7VVVCQThis lot is subject to the following lot symbols: TP Y ФTP 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

Daum France moulded relief glass ' Marly ' car sculpture. Signed Daum France. Measures 22cm wide.

A large flowerpot with a sculptural image made in an oriental motif is a large bowl with a high cylindrical body, resting on a flat pedestal (four-bladed) and supported by two fairy-tale animals with the head of a dragon and the legs of a bird. Fancy polychrome coloring with geometric and other patterns is made in bright and contrasting colors. The surface of the pot is decorated with multi-colored friezes in relief with stylized cartouches, inlaid with ivy leaf motifs, edged with pearl friezes, the upper edge of the pot is decorated with 8-pointed stars. In general, the ornamental pattern is formed by decorative elements characteristic of similar porcelain paintings of this era. The glaze coating gives the item shine. The author of the sketch of the flowerpot model is A.S. Kaminsky (1829-1897), Moscow architect and artist, professor at the Moscow School of Painting, Sculpture and Architecture, husband of P. M. Tretyakovs sister (founder and owner of the art gallery of the same name). For the first time such a flower pot was made at a factory in the Tver province, which belonged to S.I. Maslennikov in the 1880s (the factory was founded by Auerbach). Maslennikovs factory was famous in Russia for its majolica products used to decorate chapels, as well as mugs made for the coronation of Emperor Alexander III. After a fire occurred at the factory in 1889, it was acquired by M.S. Kuznetsov, and its owner went to work for the new owner, where he worked until 1896. As M.S. Kuznetsov practiced, along with the purchase of the factory he stipulated the right to use and repeat the factorys old models. Sometimes, with such a purchase, he also stipulated the use of an old production mark (for example, the Gardner plant - the use of the last trademark of the enterprise with a double-headed eagle, the use of surviving models of products for the manufacture of repetitions; the Auerbach plant - the image of a double-headed eagle in the trademark). Under the leadership of Kuznetsov, the company began producing majolica products in 1885. Presumably, in the early 1890s, M.S. Kuznetsovs enterprise produced a small batch of S.M. Maslennikovs flowerpots intended for public sale. An identical vase is kept in the collection of the State Historical Museum in Moscow (GIM No. 112833). - A vase of a similar style was presented at the " Russian Art " auction at Sothebys on November 30, 2016, lot 126A Majolica, textured processing, painting with enamel paints. Mark of the M.S. Kuznetsov factory in the Tver province, Vyshnevolotsk district, Chernyatka village (former S.I. Maslennikov factory). The production mark is embossed and made in dough. The model number indicated in the price list of the factorys products is 671 (in the test) and the foundrys index (?) is 26 (in the test). The condition of the item is very good. Slight abrasion of paint along the upper edge of the flowerpot. Height - 33.0 cm. Flowerpot: diameter - 21.0 cm, height -  23.0 cm. Pedestal (flat, four-blade): length - 29.0; width -18.0 cm. Width: 18cm, Height: 33cm, Depth: 18cm, Weight: 5kg, Condition: Good, Material: Polychrome painting

Winter landscape The beginning of winter. M. Yaffe. 1930s. Canvas, oil. 95x110 cm Moscow artist Mikhail Yaffe (1894-?). Graduated from the Odessa Art College. Lived and worked in Moscow in the 1930s. The landscape is executed in a realistic style (socialist realism). The name of the work The beginning of winter and the size of the canvas 95x110 are indicated on the reverse side of the painting (the correct size is 85x110 cm). The painting is framed in a gilded relief frame from the first half of the 20th century. On the stretcher there is a sign of the Moscow Art Salon of the Moscow Association of Artists, which was located in Moscow at 11 Kuznetsky Most Street. The registration number of the painting in the salon is N4447 and the sale price is 3900 rubles. Historical note: The Moscow Association of Artists is a private art association of artists that existed from 1893 to 1924. The basis of the partnership were graduates of the Moscow School of Painting, Sculpture and Architecture. It included many famous Moscow Russian artists - Arkhipov A.E., Baksheev V.N., Borisov-Musatov V.E., Vinogradov S.A., Vrubel M.A., Zhukovsky S.Yu., Kandinsky V. .V., Korovin K.A., Kuznetsov P.V., Polenov V.D., Saryan M.S., Yuon K.F. and others. The Association organized exhibitions of works by members of the association not only in Moscow, but also in other cities of Russia. At the first stages of the work of the Association, the works of landscape painters and everyday genre dominated. In 1917, the Association had 35 active members. Width: 85cm, Height: 110cm, Depth: 15cm, Weight: 35kg, Condition: Good, Material: Canvas, oil

Alecos Fassianos (Greek, 1935-2022)Nicola e il fantasma/ Les passants/ Le spectacle signé 'A. Fassianos' (en haut à gauche)huile sur toile162 x 130cm (63 3/4 x 51 3/16in).Peint en 1972.signed (upper left)oil on canvasFootnotes:ProvenanceIolas Gallery, Milan (based on labels on the reverse). Private collection, Athens.ExpositionsVenice, XXXVI Esposizione Biennale Internationale d'Arte, Greek Pavilion, Fassianos, Mytaras, Panourgias, Piladakis, June 11 - October 1, 1972 (based on label on the reverse). LittératureFassianos, Kedros editions, Athens 1980, p. 104 (listed), p. 47 (illustrated), back dust jacket (illustrated).T. Spiteris, Art in Greece after 1945, Odysseas editions, Athens 1983, no. 25 (illustrated).Erourem nagazine, no. 4, March 1996, pp. 131, 171, 177, 194 (details) (illustrated).Mandragoras magazine, no. 28, September 2002, p. 17 (illustrated).Full of life and vibrancy, monumental yet familiar, universal yet quintessentially Greek, Fassianos's ubiquitous rider looks as immobile and eternal as a relief sculpture on an Doric metope, demonstrating the artist's power to seize the eternity of the moment through timeless forms.Captured in sharp profile and set against a solid background, the emblematic rider and the 'passants' below are remoulded into archetypal figures echoing the timeless forms of ancient Greek vase iconography. As noted by French writer J. Lacarriere, 'like in ancient pottery, Fassianos's modern figures are captured in an eternal contre-jour which renders them both precise and timeless. These figures inhabit a land which might well be Greece, a totally luminous and airy land, an Aeolian land. The wind which tosses the hair of Fassianos's figures is the same wind which pervades Homer's epics and fills Odysseus's sails on his way to meet the Sirens.'1 Likewise, Jean-Marie Drot, former Director of the French Academy in Rome notes: 'Fassianos sets out to transform the most elemental aspects of everyday life, the most familiar figures into divinities, retracing, in reverse, the ancient tradition that allowed the great Olympian gods to assume the guise of mortals and mingle with them, talk to them and even seduce them without scaring them.'2 Magnificent in its simple grandeur and utterly characteristic in style and sentiment, this top quality work encompasses the defining elements of Fassianos's unique expressive language, unfolding the qualities that established him as a master of contemporary figurative painting.1 J. Lacarriere, 'A Shadow Play' in Fassianos - Mythologies of Everyday Life, exh. cat., National Gallery - A. Soutzos Museum, Athens 2004, p. 24.2 See Alecos Fassianos, Athlos, Mythos, Eros [in Greek], Kastaniotis editions, Athens 2004, p. 82.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

After George Baxter,  British 1804-1867- The Crucifixion; oil on canvas, 145 x 114.5 cm., (unframed). Provenance:  The Property of the Late Reverend John Watson. Note:  The present work apparently relates to George Baxter's 1855 print depicting the same scene [V&A Collection no.E.2930-1932], which itself appears to have been informed by a section of a relief sculpture by the French artist Justin Mathieu (1796-1864), held by the Minneapolis Institute of Art [70.6.1]. This painting, like Baxter's print, is executed 'en grisaille', evoking the surface of Mathieu's sculpture, which features the present composition in the background of a greater and more densely-populated scene. 

Collection of collectable porcelain; Early Crown Derby bowl, Meissen two handle vase with raised relief flowers and fruit, Naples lidded tankard, Heavy metal dragon sculpture, Chinese pierced pots, White glaze bird design candelabra and many more items

European bronze sculpture depicting a putti or baby boy. Affixed to a gilt bronze base decorated with flowers and fruits. The base with small cartouches depicting low-relief scenes of putti or cherubs.(Including Base) Height: 20 in x width: 14 3/4 in x depth: 10 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Retable en bois sculpté peint polychrome représentant la Passion du Christ, les scènes de la Vie du Christ, Flandres ou Allemagne du sud, début du XVIe siècleA parcel-gilt and polychrome altarpiece depicting the The Passion of Christ, Flemish or South German, early 16th centuryThe Crucifixion carved in high relief from several blocks of wood; the central section depicting the Crucifixion and the Entombment, the left panel showing Christ in the Garden of Olives and the Carrying of the Cross, the right panel showing the Descent into Limbo and the Resurrection, the upper register with an openwork frieze of tracery and the lower register with a frieze decorated with fleurons. The outer panels are probably painted with a scene of Noli me tangere (Do not touch me), the words spoken by the risen Jesus who appears to Mary Magdalene on Easter Sunday, restorations, polychrome decoration refreshed, 62cm wide, 14cm deep, 129cm high (24in wide, 5 1/2in deep, 50 1/2in high), altarpiece opened 128cm wide, (50in wide).Footnotes:Provenance:Sale, Enghien-Les-Bains, Maîtres Goxe et Belaisch, 18 December 2016, lot 200See A. Huysmans ed., La sculpture des Pays-bas méridionaux et de la Principauté de Liège XVe et XVIe siècles, 1999, for comparable pieces.Many altarpieces were dismantled and sometimes destroyed during the iconoclastic revolutions, the dissolution of monasteries and wars, and the present altarpiece is a rare example of a domestic altarpiece, complete with all the shutters that were used to conceal it at certain times of the liturgical year.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Antique C1810 coloured wax relief portrait sculpture of Horatio Nelson, admiral and 1st viscount in profile to the left attributed to John Flaxman 1755-1826, in Royal Navy dress uniform, Glazed in period gilt frame. wax relief 7.5 x 5cm, overall 23.5 x 20.5cm

Moore, Henry - - Sammlung von 75 Werk-Photographien. Silbergelatine. Vintages. Größtenteils mit dem Stempel von "Henry Moore, Hoglands, Much Hudham, Herts, England" sowie meist handschriftlichen Archivnummern und Bezeichnungen der Werke sowie einige mit einem Photographenstempel. 1950er/1960er. Blattmaße: 13,5 x 24 cm bis 25 x 30 cm.Neben zahlreichen Werken Moores in Privatbesitz finden sich auch Aufnahmen seiner ikonischen Arbeiten im öffentlichen Raum wie die "Reclining Figure" im Lincoln Center New York, "The Archer" im Nathan Phillips Square Toronto, "King & Queen" im Glenkiln Sculpture Park, "Two Piece Recling Figure No. 2" in der Londoner Tate, die "Recling Figure" aus Marmor vor dem UNESCO Gebäude in Paris, das Relief für das Berliner Opernhaus etc. - Unter den Photographen sind Errol Jackson (7), Basil Langton (1) und Lidbrooke (2). - Bis auf 4 Photos (u.a. Keystone, Guggenheim Museum), alle Aufnahmen mit dem Stempel Moores. - Gewellt, Kanten teils leicht bestoßen, wenige Aufnahmen schwach knickspurig, eine Aufnahme mit Randeinriss.