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A large Italian religious sculpture. 47cm

OLMEC STONE MASK MEXICO, 900 - 400 B.C. carved and polished green serpentine, the distinctive features displaying a subtly downturned mouth, broad nose and narrowed eyes framed by a frowning brow, the ears pierced, raised on a bespoke mount 20cm high Private collection, United Kingdom, acquired from the belowAcquired in Southern Mexico in the 1950's, thence by descent The Olmec civilization, which thrived in the Gulf Coast region of Mexico from approximately 1400 - 400 BC, is renowned for its remarkable artistic achievements, among which serpentine masks such as the present example are particularly noteworthy. Crafted from the distinctive deep green stone, they were characterised by intricate carvings that depicted human visages with exaggerated features, such as downturned mouths, almond-shaped eyes, and broad noses. The masks also incorporated serpentine imagery in the form of coiled snakes or serpent-like figures that surrounded the faces or extended from the top of the masks. It is believed that serpentine masks were utilised in ceremonial and ritual contexts, likely in conjunction with funerary practices or religious festivals, and were probably worn by priests or other elite members of society during these events. The masks also held symbolic value as status symbols, owing to their valuable materials and the skilled craftsmanship required to create them.The Olmec civilization has had a profound impact on the development of modern art, particularly during the early 20th century, when Western artists rediscovered the art of ancient cultures, including that of the Olmec. This renewed interest in Olmec art influenced the emergence of modernist art movements such as Cubism and Surrealism. Olmec sculptures' stylised, geometric forms, such as the iconic "colossal heads," served as sources of inspiration for artists such as Pablo Picasso and Henry Moore, while the Olmec's use of negative space and abstraction was influential in the development of modernist sculpture. In addition, the Olmec's fascination with the natural world, particularly the serpent, inspired Surrealist artists such as Salvador Dali and Max Ernst, who integrated serpent imagery into their works. The Olmec's use of jade and other precious materials also influenced modernist jewellery and decorative arts. Today, the Olmec's legacy remains a significant source of inspiration for contemporary artists who continue to draw on its bold forms and use of negative space.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.), CIRCA 1968 bronzed resin 101cm wide Note 1: A bronze of this sculpture is in the collection of Celtic F.C. Note 2: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. Note 3: John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club. Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece. Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal. Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history. 40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plaster 59cm high including wooden plinth Exhibited: Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburgh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20. Note: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.

GLYN PHILPOT (BRITISH 1884-1937) PORTRAIT OF ARTHUR CHRISTIE (1895-1975) Oil on canvas Variously inscribed to labels attached to stretcher (verso) 64 x 50cm (25 x 19½ in.)Provenance: Sir Edmund Davis, Australian-South African mining magnate and art collector, who resided at 13 Lansdowne Road and most notably Chilham Castle, Kent Sale, Christie's, 7 July 1939, lot 84 S. Gibbs, Private Collection, purchased from the above for 15gns. Daisy Philpot, the artist's sister Thence by descent to Gabrielle Cross, the artist's niece Henry Christie, Private Collection, UK Thence by descent, to be sold on behalf of the executors of the estate Exhibited: London, Grosvenor Galleries, Glyn Philpot R.A., 1923, no. 32, as ' Portrait study for the Three Kings' London, Tate Gallery, Paintings and Sculpture by the late Glyn Philpot R.A. (1884-1937), 14 July - 28 August 1938, no. 22, as 'Study for the Three Kings' Literature: Daisy Philpot, Manuscript Catalogue of Paintings by Glyn Philpot, c. 1938-57, p. 28 (unseen)This striking portrait by Glyn Philpot depicts Arthur Christie (1895-1975), friend and model of the artist. Philpot was renowned for his skill in capturing character and intimacy through portraiture, making him one of the most sought-after and highly paid society portraitists of his time. However, his most successful works were those created in relaxed, informal settings, where he established a genuine connection with his sitters. In this portrait, Philpot skilfully captures Christie's prominent features including his angular jawline, vivid red hair, intense gaze, defined lips, and prominent brow. The viewer is immediately struck by the intensity of the sitter's gaze, a motif Philpot repeated throughout his works influenced by the great Venetian master, Titian. Philpot greatly admired the work of Titian and actively practiced and taught his techniques at the Royal Academy Schools. Despite the beautiful interplay of light and shadow across the sitter which illuminates Christie the portrait is set against a dramatic dark backdrop which creates a stunning contrast reminiscent in the work of artists such as John Singer Sargent and James McNeill Whistler. Lot 93 was first exhibited in 1923 at Philpot's solo exhibition at the Grosvenor Galleries under the title Portrait Study for the Three Kings. It is believed that the present portrait was a study for The Adoration of the Three Kings (1918), a work exhibited at the Royal Academy that same year and later sold by the Baltimore Museum of Art at Christie's in 1990 to a British private collector. (See Figure 1.)The Adoration of the Three Kings depicts three sumptuously cloaked figures bearing gifts as they arrive at the stable door. The viewer takes the perspective of Mary, Joseph, and the infant Jesus, as the Magi cross the threshold bathed in a golden light. Raised in a devout Baptist family, Philpot's early religious teachings profoundly shaped his life and artistic vision. His interest in biblical themes was evident as early as 1903 when, at just 19, his painting The Elevation of the Host was accepted at the Royal Academy of Arts. This work, depicting the raising of Christ during the Eucharist, reflected his early engagement with Christian iconography from a distinctive and modern perspective.In 1906, Philpot converted to Roman Catholicism, a decision that created significant tension within his family. His subsequent travels through Spain, Portugal, and Morocco deepened his study of Catholic imagery and the works of the Old Masters. These experiences significantly influenced his art, inspiring some of his most powerful religious-themed paintings. By 1929, Philpot had become the first president of the Guild of Catholic Artists and Craftsmen, solidifying his commitment to his faith. However, his devout Catholic beliefs often conflicted with his identity as a queer man-a tension that permeates his body of work. This portrait of Arthur Christie was acquired by Sir Edmund Davis, the Australian-born mining financier and prominent art collector. Sir Edmund Davis was advised by Charles Ricketts and Charles Shannon and built an impressive collection that included works by James McNeill Whistler, William Orpen, and Edward Burne-Jones, some of which were later bequeathed to the Musée du Luxembourg. It is likely that Sir Edmund Davis purchased this portrait from the 1923 Grosvenor Gallery exhibition. The work was later lent by Davis to the Tate Gallery's Paintings and Sculpture by the Late Glyn Philpot exhibition in the summer of 1938.Following Sir Edmund Davis' death, the portrait was sold at Christie's alongside other notable works from Davis' collection, including Rodin sculptures, a lead figure by Philpot, and paintings by James Pryde and James McNeill Whistler. The work was eventually acquire by Philpot's sister, Daisy Philpot and thence by descent to Gabrielle Cross, the artist's niece. Philpot frequently returned to certain models, portraying them in various roles and guises throughout his career. Among his most notable muses was Henry Thomas, whom he met in 1929. It has been suggested that Arthur Christie may have also been the model used for the Angel Gabriel in The Angel of Annunciation (1925) and for The Transfiguration of Dionysus before the Tyrrhenian Pirates (1924). Condition Report: Please contact pictures@dreweatts.com for a full condition report. 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A Dehua porcelain figure of seated DamoChina, Qing Dynasty (1644 - 1912), Kangxi (1661 - 1722)This captivating sculpture features Bodhidharma, the legendary founder of Zen Buddhism, rendered in the distinctive "Blanc de Chine" porcelain of the Dehua kilns. Bodhidharma, also known as Daruma in Japan, is depicted seated with voluminous robes gathered closely around him.The porcelain itself is a marvel, its creamy white glaze exhibiting the characteristic translucence and subtle warmth of "Blanc de Chine." The details of Bodhidharma's facial features, the texture of his garments, and the subtle nuances of his expression are all meticulously rendered, a testament to the skill and artistry of the Dehua craftsmen.Dehua Ware:The Dehua kilns, located in Fujian Province, southeastern China, have been producing porcelain for centuries, earning renown for their "Blanc de Chine" ware. This type of porcelain is characterized by its high purity, fine texture, and creamy white glaze, often used to create exquisite figurines and religious objects.The Dehua kilns reached their peak during the Ming and Qing dynasties (1368-1912), producing some of the most refined and sought-after porcelain in Chinese history. Their wares were highly prized by both imperial and scholarly elites, and were also exported to Southeast Asia and Europe, where they were admired for their beauty and craftsmanship.Provenance: Portuguese private collectionHeight: 11 cm€ 1 200 - € 1 500

100 B.C.-250 A.D. Modelled in the round as a seated male playing a drum, wearing a pointed cap, ear plugs and a necklace, sitting with both hands resting on the edge of the drum. For a similar sculpture, see Kan, Meighan and Nicholson, Sculpture of Ancient West Mexico, A catalogue of the Proctor Stafford Collection at the Los Angeles County Museum of Art, fig 143; for a short and informative essay on hand modelled Colima figures, see Pearsons, L., Pre Columbian Art, The Morton D May and The Saint Louis Art Museum Collections, 1980, Harper and Row, New York, p.88. 346 grams, 14.6 cm (5 3/4 in.). [No Reserve] From a USA private collection. Ex Dr David Harner collection, Arkansas, 1950s-1960s. Ex TimesAncient, Bristol, UK. Accompanied by a copy of a previous catalogue entry.Hand modelled early Colima figures are famed for their variety and insight into how the Colima lived thousands of years ago. Figures were hand modelled and show both men and women partaking in daily activities in addition to the shaman and dancers engaged in religious ceremonies.

100 B.C.-250 A.D. In pale yellow-orange terracotta, female standing with one arm wrapped around her waist, the other holding an object, probably a baby; with distinctive facial features, wearing a cap and with large ear plugs, with applied pellet decoration on her right shoulder, to the reverse a long pigtail hanging down. Cf. Kan, Meighan and Nicholson, Sculpture of Ancient West Mexico, A catalogue of the Proctor Stafford Collection at the Los Angeles County Museum of Art, fig.139; for a short and informative essay on hand modelled Colima figures, see Pearsons, L., Pre Columbian Art, The Morton D May and The Saint Louis Art Museum Collections, 1980, Harper and Row, New York, p.88. 132 grams, 16.5 cm (6 1/2 in.). [No Reserve] From a USA private collection. Ex Dr David Harner collection, Arkansas, 1950s-1960s. Ex TimesAncient, Bristol, UK. Accompanied by a copy of a previous catalogue entry.Hand modelled early Colima figures are famed for their variety and insight into how the Colima lived thousands of years ago. Figures were hand modelled and show both men and women partaking in daily activities in addition to the shaman and dancers engaged in religious ceremonies.

A Giannetti - A vintage late 20th century Religious resin The Last Supper by Leonardo da Vinci sculpture. The figure in the form of the last supper, from the Bible, depicting Jesus and his twelve disciples.

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

This exceptional Late Gothic polychrome wood sculpture, attributed to the French School and dating to the 15th century, depicts the Madonna standing in a dignified yet tender pose while holding the Christ Child. The figure exhibits the characteristic elegance and stylized realism associated with Late Gothic religious art, with elongated proportions, delicate facial modeling, and a serene yet solemn expression.One of the most striking details is the Madonna's crown, which features a fleur-de-lis, a potent symbol of French royalty and divine protection. This emblem underscores the strong connection between Marian devotion and the monarchy in medieval France, particularly during the reign of the Valois dynasty. The figure's garment retains traces of its original polychromy, with remnants of red and ochre pigments hinting at the once-vibrant coloration that would have enhanced its sacred presence.Carved from a single hollowed block of wood, a technique commonly employed to prevent cracking over time, the sculpture reflects the high level of craftsmanship of Gothic ecclesiastical art. The reverse side still bears evidence of its structural integrity, including a vertical metal bar, likely used for stabilization or mounting.Based on its stylistic characteristics-its elongated proportions, solemn expression, and the presence of the fleur-de-lis-this piece likely originates from a Burgundian or Loire Valley workshop, both of which were renowned for their refined Late Gothic religious sculpture in the 15th century. The Burgundian region, particularly under the influence of the Dukes of Burgundy, was a major center for Gothic art in the 14th and 15th centuries. The sculpture's restrained elegance and naturalistic yet stylized facial features are reminiscent of the International Gothic style, which flourished in the Burgundian court and influenced religious sculpture. Workshops in Dijon and other Burgundian cities created numerous Madonna and Child figures for private and ecclesiastical devotion.The Loire Valley, with its strong connections to the French monarchy and religious institutions, produced highly detailed polychrome sculptures for churches and chapels. The presence of the fleur-de-lis in the Madonna's crown suggests royal patronage or influence, making it plausible that this piece was crafted in a Loire Valley workshop closely tied to the royal court. Paris and its surrounding regions, including Normandy, were also major centers of Gothic sculpture, particularly with the flourishing of Marian devotion in cathedrals and churches. The expressive yet restrained facial features and the delicate folds in the Madonna's clothing suggest a possible connection to the Parisian School, which was highly influential in the later Gothic period.Artist: French SchoolIssued: Early 15th centuryDimensions: 13"L x 11"W x 42"HCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Sporadic loss of polychromy with modern addition of color on the lower part of the folds. Pieces of the feet of the child are missing.

This exceptional Baroque polychrome and parcel-gilt wood sculpture of Saint Rupert of Salzburg, attributed to the renowned Salzburg School, dates to the late 17th to early 18th century. A commanding presence in ecclesiastical art, this masterfully carved figure exemplifies the height of Austrian Baroque craftsmanship, characterized by its expressive naturalism, richly ornamented gilding, and striking polychrome decoration. The saint is portrayed in full episcopal vestments, wearing an elaborate, gold-adorned mitre and a voluminous chasuble that cascades in deeply carved folds, capturing the dynamic energy so central to Baroque religious sculpture. His left hand grasps a finely detailed crozier, a symbol of his spiritual authority, while his right hand holds a holy book surmounted by a salt barrel-a direct reference to his role in revitalizing Salzburg's salt industry, the foundation of the city's economic and historical identity.The Salzburg School of sculpture, influenced by both Italian Baroque exuberance and the meticulous craftsmanship of German and South Tyrolean traditions, produced some of the most distinguished religious works of the period. This statue exemplifies the hallmarks of this celebrated school, particularly in its striking facial realism, the intricate detailing of Saint Rupert's beard and hair, and the finely articulated hand gestures, which convey both piety and engagement. The polychromy remains vivid, lending lifelike warmth to the figure's complexion, while the combination of burnished and matte gilding techniques enhances the depth and texture of the vestments. The artist's attention to anatomical accuracy and the play of light across the drapery reflects the influence of sculptors such as Georg Raphael Donner (1693-1741) and Meinrad Guggenbichler (1649-1723), both of whom were instrumental in shaping the Salzburg School's distinct style.As the patron saint of Salzburg and its first bishop, Saint Rupert is a particularly significant figure in Austrian religious history. He was instrumental in establishing the city as a center of Christianity and economic prosperity, largely due to the region's salt mines, which gave Salzburg its name. His association with the salt trade is rarely depicted as clearly as in this sculpture, where the small barrel resting atop the holy book serves as a poignant symbol of his enduring legacy. This imagery would have resonated deeply with Salzburg's religious and civic identity during the Baroque period, making such a representation highly desirable for both ecclesiastical and private devotional settings.This remarkable statue is in exceptionally well-preserved condition, retaining much of its original polychrome surface and gold leaf detailing. The subtle craquelure in the painted areas is consistent with its age, and there is no significant restoration or loss, making it a rare survivor of its period. Comparable works can be found in the Salzburg Cathedral Museum and the Belvedere Museum in Vienna.Artist: Austrian (Salzburg) SchoolIssued: c. 1750Dimensions: 30"L x 15"W x 60"H (including staff)Country of Origin: AustriaProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Possible gilt restoration. Staff with hand detaches.

This 15th-century polychrome Madonna and Child is a significant example of religious sculpture from the Rouen School, an influential center of artistic production in Normandy, France, between the late 14th and early 16th centuries. The Rouen School emerged as a key regional style in ecclesiastical sculpture, blending elements of the French High Gothic tradition with the increasing realism characteristic of the early Northern Renaissance.Hand-carved in oak, this sculpture presents the Madonna standing in a contrapposto pose, gently cradling the Christ Child. The Virgin is crowned, signifying her role as Queen of Heaven, and wears a voluminous robe, with traces of its original polychrome and gilding still visible. The drapery is carved in a soft, flowing manner, with deep folds that cascade naturally-an aesthetic evolution from the rigid, columnar representations of the earlier Romanesque period toward the more expressive style favored in the late Gothic era.The Rouen School flourished particularly between 1400 and 1530, reaching its height in the mid-to-late 15th century, when it produced religious sculptures for cathedrals, churches, and private devotion. Artists in Rouen were heavily influenced by the Parisian court style, particularly the elegant forms found in the workshops of Île-de-France, as well as the Netherlandish tradition, which introduced a greater sense of naturalism and human emotion. This synthesis of French Gothic ornamentation and Flemish realism is evident in the facial structure and tender gestures of the figures in this piece.Notably, the hollowed reverse of the sculpture, a technique used to reduce weight and prevent cracking, aligns with the common practices of 15th-century French workshops. The delicate paint layers, though worn, reveal an original palette of reds, blues, and golds, which were intended to emphasize the divine nature of the figures.The Rouen School was a dominant force in Normandy's religious art production, working extensively in wood and stone for both large-scale cathedral commissions and smaller devotional pieces. Rouen's location as a major trade hub allowed for artistic cross-pollination with Flanders and the Burgundian Netherlands, seen in the increased attention to expressive realism in its sculpture. By the late 15th century, workshops in Rouen were producing figures that displayed a shift toward Renaissance ideals, particularly in the handling of fabric and the softening of facial features.This piece embodies these transitions: while it retains the elongated proportions and elegance of Gothic sculpture, the attention to the naturalism of the Christ Child suggests the influence of early Netherlandish devotional imagery, which was making its way into French religious art at the time.Artist: French (Rouen) SchoolIssued: c. 1500Dimensions: 16"L x 7.50"W x 46"HCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Exposed rods underneath base, hallow back. Left hand missing on virgin and both arms on Jesus.

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

A rare and exceptional 14th-century Gothic carved lindenwood sculpture depicting Saint Theodul, the first bishop of Valais, Switzerland. This masterfully crafted piece, attributed to the Swiss School, showcases the saint seated in a position of authority, his hands extended in a gesture that suggests he once held a symbolic object, possibly a crozier or book.This figure is adorned with its original polychrome, which has been remarkably preserved. The sculpture's red and gold vestments, combined with the intricate carving of the facial features and drapery, emphasize a high level of craftsmanship. His tall mitre and solemn expression further highlight Saint Theodul's ecclesiastical status.This sculpture is a significant representation of the Swiss School of Gothic art, a tradition deeply influenced by both French High Gothic naturalism and Germanic structural solidity. The use of lindenwood is consistent with the Swiss School, as it was a material favored in Swiss religious sculpture for its fine grain and ability to retain intricate details.The Swiss School's religious statuary often emphasized hierarchical symbolism and devotion, as seen in the rigid yet expressive posture of Saint Theodul. The bold polychromy, particularly the red and gold hues, aligns with medieval Swiss artistic traditions that aimed to enhance the lifelike presence of religious figures. Swiss sculptors of this period worked closely with painters to create richly detailed, vividly painted figures.Saint Theodul (c. 340-400 CE), as the first bishop of Valais, was a revered figure in medieval Switzerland, known for his role in establishing Christian influence in the Swiss Alps. He is historically credited with securing the papal-approved transfer of relics of the Theban Legion to the region, further cementing Valais as an early Christian stronghold. Devotional sculptures like this were likely commissioned for monastic centers or cathedral altars, serving as objects of veneration. The presence of such an elaborate carving suggests that this piece may have originated from a high-status ecclesiastical setting, possibly a bishopric or monastic treasury.Artist: Swiss SchoolIssued: Circa 1350Dimensions: 12"L x 9"W x 31"HCountry of Origin: SwitzerlandProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear.

This exceptional Gothic polychrome wood sculpture of the Madonna and Child in Majesty is attributed to the Île-de-France School, a prominent artistic tradition that flourished in and around Paris between the late 12th and early 15th centuries. Carved from a single block of wood and hollowed out from the reverse, this piece demonstrates the advanced sculptural techniques characteristic of the period. The hollowing process, a feature commonly employed in medieval ecclesiastical wood sculpture, served both structural and practical purposes by reducing weight and minimizing the risk of splitting over time. The careful attention to proportion and volume, particularly in the rendering of the Madonna's seated posture and the Christ Child's placement on her lap, reflects the refined craftsmanship that was central to religious sculpture in the region. The surface, once vibrantly polychromed, has faded with time, though remnants of the original color suggest that it was once richly decorated to enhance its visual impact within a church or private devotional setting.The Île-de-France School was at the forefront of Gothic sculptural development, profoundly influenced by the monumental figures adorning the portals of cathedrals such as Notre-Dame de Paris and Chartres. This school emphasized a balance between idealized elegance and solemn religious expression, as seen in the elongated facial features of the Virgin, her downcast gaze, and the stylized drapery that cascades in rhythmic folds. The sculpture's frontal composition and rigid posture align with the formal, hieratic presentation often found in French Marian iconography of the period. The Virgin, wearing a crown as Queen of Heaven, holds the forbidden apple in her right hand, a symbolic reference to her role as the New Eve, whose divine child offers redemption for original sin. The Christ Child, depicted in a tender yet composed manner, originally would have held a gesture of blessing or a sacred object, though some sculptural elements have been lost over time.By the 14th and 15th centuries, sculpture in the Île-de-France region evolved toward greater refinement and courtly elegance, incorporating elements of naturalism while maintaining a devotional solemnity. This period saw a flourishing of Marian imagery, with depictions of the Madonna and Child commissioned for churches, monasteries, and private chapels. The present sculpture embodies the stylistic principles of the time, with its delicate facial modeling, carefully articulated hands, and the symbolic interplay between mother and child. Artist: French (Ile-de-France) SchoolIssued: Circa Late 14th to early 15th CenturyDimensions: 13"L x 10"W x 36"HCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Areas of wood worm traces.

This is an exquisite early Renaissance polychrome wood sculpture depicting Saint Martin of Tours on horseback, captured in the moment of his legendary act of charity. In a dynamic and expressive pose, Saint Martin turns gracefully to share his cloak, symbolizing compassion and selflessness, a defining moment in Christian iconography.This piece is attributed to the French Lorraine School, a renowned artistic tradition that flourished in northeastern France during the late Gothic and early Renaissance periods. Lorraine artists were known for their expressive religious sculptures, seamlessly blending Gothic traditions with Renaissance humanism. The region's sculptors mastered naturalistic detailing, particularly in facial expressions, drapery, and anatomical realism, all of which are evident in this piece.The French Lorraine School retained strong Gothic influences throughout the late 15th century, while gradually incorporating Renaissance realism and emotional expressiveness into the early 16th century. This sculpture likely dates to the late 15th or early 16th century (circa 1470-1520). Its stylistic elements reflect the artistic traditions of this period, particularly those seen in works by Lorraine sculptors influenced by early French Renaissance carving techniques and the expressive stone sculptures of Ligier Richier (circa 1500-1567).Carved from wood with traces of original polychrome, the sculpture would have once been richly colored, enhancing its lifelike presence. The detailed rendering of Saint Martin's garments and the horse's dynamic posture is characteristic of Lorraine craftsmanship, while the subject matter reflects the region's deep devotion to saints and narrative-driven religious art.Saint Martin of Tours (circa 316-397 AD) was a Roman soldier-turned-bishop, renowned for his charitable deeds and monastic reforms. His act of dividing his cloak to clothe a beggar-immortalized in Christian legend-became a powerful symbol of generosity, inspiring countless artistic interpretations. His legacy endures through Martinmas (November 11), a feast day celebrating his contributions to the Church and European religious life.Approximate Dimensions: 34"L x 13"W x 45"H.Artist: French (Lorraine) SchoolIssued: Circa 1500Dimensions: See DescriptionCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Right hand is missing. The horse is made of two pieces that need to be reattached. Loss of polychromy.

This exquisite Late Gothic polychrome limestone sculpture of the Madonna and Child in Majesty is a remarkable example of the artistic refinement characteristic of the Île-de-France School. Originating in the 14th or early 15th century, this piece embodies the evolving stylistic trends of Parisian Gothic sculpture, where religious figures were rendered with a heightened sense of naturalism, grace, and emotional depth. The Île-de-France region, home to some of the most celebrated sculptural workshops of the medieval period, played a pivotal role in shaping the Gothic artistic tradition, particularly through commissions for the grand cathedrals and religious institutions of Paris and its surrounding areas.The Île-de-France School emerged as a dominant force in medieval sculpture from the 12th through 15th centuries, fostering the transition from the more rigid and elongated forms of early Gothic art to compositions imbued with a sense of softness, realism, and human connection. The sculptors of this region were deeply influenced by the royal and ecclesiastical patronage of Notre-Dame Cathedral, Chartres, and the Sainte-Chapelle, where they developed a distinctive style characterized by serene facial expressions, fluid drapery, and refined polychrome finishes. By the late 14th century, this style had matured into a more intimate and lifelike approach to sacred imagery, as seen in this sculpture, which depicts the Virgin and Christ Child not only as divine figures but also as a tender, humanized representation of maternal devotion.This piece is attributed to the Île-de-France School based on several key stylistic elements. The Madonna's delicately modeled face, with its idealized yet naturalistic features and gentle downward gaze, strongly aligns with the aesthetic conventions seen in French Gothic sculpture of the period, particularly those associated with the Parisian courtly style. The rendering of the drapery, with its deep, flowing folds that create a sense of movement and three-dimensionality, is another hallmark of the region's sculptural tradition. The interaction between the Virgin and Child, where Christ gently engages with his mother while holding what appears to be an orb or fruit, further reinforces the stylistic advancements of this period, which emphasized warmth and realism in religious compositions.The iconography of the enthroned Madonna and Child-sometimes referred to as Sedes Sapientiae, or "Throne of Wisdom"-was a dominant theme in Gothic religious sculpture, meant to reinforce the Virgin's role as both the Queen of Heaven and the vessel of divine wisdom. This particular representation, with Christ engaging with his mother in a lifelike, almost tender manner, marks a shift toward the more personal and introspective depictions that became increasingly popular in the late medieval period. The architectural base, with its gothicized arch detailing, suggests that this piece may have originally been part of a larger altarpiece or private devotional shrine.Issued: 15th-Early 16th centuryDimensions: 14"L x 9"W x 29.75"HCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Missing right hand and partial fingers missing on the left.

A finely carved and polychrome-painted wooden putto, likely from the late Baroque period (17th-18th century), originating from a chapel near Lienz, Austria. This gracefully poised cherub is depicted in a dynamic contrapposto stance, characteristic of Baroque sculpture, with one arm elegantly raised and the other delicately extended. The carving exhibits remarkable craftsmanship, particularly in the expressive facial features, softly rendered curls, and lifelike coloration that accentuates the cheeks, lips, and eyes. Traces of gilding highlight the flowing drapery, adding a rich decorative element that enhances its visual appeal.Putti, frequently seen in religious art and architecture of the Baroque and Rococo periods, symbolized divine presence, innocence, and celestial beauty. Their presence in chapels and altarpieces often conveyed a sense of movement and ethereal grace, reinforcing the spiritual themes of the era. This piece reflects the stylistic influence of South German and Austrian Baroque sculptors, such as those from the school of Johann Baptist Straub (1704-1784) or the workshop traditions of Tyrolean ecclesiastical artisans.The back of the figure features a hook for easy mounting, suggesting it was originally intended as part of a larger altarpiece or architectural ornamentation. Its well-preserved condition, with visible signs of age-appropriate wear, lends authenticity and historical depth. A superb example of Baroque religious artistry, this putto would make an exceptional addition to a collection of ecclesiastical antiques or period decorative arts.Artist: Austrian (East Tyrol) SchoolIssued: Mid 17th-18th centuryDimensions: 21"L x 13.50"W x 28"HCountry of Origin: AustriaProvenance: Chapel near Lienz, Austria; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963.Condition: Age related wear.

An extraordinary example of late medieval and early Renaissance religious artistry, this 15th-century polychrome wood sculpture depicts the Madonna and Child in Majesty, a revered subject in Christian devotional art. The crowned Virgin is portrayed in a seated position, cradling the Christ Child, who is also adorned with a crown-symbolizing both divine kingship and maternal grace. Designed to be viewed from the front and slightly below, the sculpture retains remnants of its original polychrome decoration, including traces of a deep blue cloak on the Madonna and delicate flesh tones that highlight the figures' serene expressions. The back of the piece remains unpainted, a common feature in ecclesiastical sculptures intended for placement against a wall or within a niche.The stylistic and technical characteristics of this work suggest an origin in either a French or Northern Italian workshop during the 15th century. The elongated proportions, solemn facial expressions, and cascading drapery folds strongly resemble French Gothic sculpture, particularly from the Burgundian and Norman regions, where seated Madonna figures were frequently commissioned for churches and private chapels. The static, frontal pose of the Virgin aligns with French ecclesiastical traditions, particularly those seen in Gothic cathedrals such as Notre-Dame de Paris and Chartres. At the same time, the softer modeling of the faces and the naturalistic treatment of the drapery reflect the influence of the emerging Renaissance style, which flourished in Northern Italy, particularly in Lombardy and Veneto. This artistic transition can be observed in the works of early Italian masters such as Jacopo della Quercia and Lorenzo Ghiberti, who introduced a greater sense of realism and fluidity to religious compositions.A further indicator of the sculpture's prestigious origins is the presence of lapis lazuli-based pigment in the Madonna's cloak, a costly material widely used in both French and Italian Marian iconography to signify divinity and purity. The composition of the crowned Christ Child seated on the Virgin's lap follows the "Sedes Sapientiae" (Throne of Wisdom) tradition, a theme prevalent in both French Gothic and early Italian Renaissance religious sculpture. The unpainted back of the piece suggests that it was created for an altarpiece or a niche setting, emphasizing its devotional purpose within a church or monastic environment.Artist: French or Italian SchoolIssued: Circa 15th centuryDimensions: 16"L x 14"W x 47"HCountry of Origin: France/ItalyProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Loss of polychrome and sporadic loss of wood. Small cross missing from the orb.

This exceptional early Renaissance Spanish School sculpture of the Madonna and Child in Majesty is a superb example of polychrome and gilded wood carving from the 14th to 15th century, likely originating from Castile or Aragon. Retaining much of its original polychromy, this remarkable piece embodies the transition from the Romanesque tradition to the more refined Gothic and early Renaissance styles that shaped Spanish religious art. The Virgin Mary, enthroned and crowned as the Queen of Heaven, holds an apple, symbolizing her role as the New Eve and the redemption of humankind. The Christ Child sits upon her lap, presenting the Holy Book while raising His hand in a traditional gesture of blessing, reinforcing the sacred bond between mother and son in Christian iconography.This sculpture illustrates the stylistic evolution occurring in Spain during this period, bridging the sacred formality of the Romanesque with the increasing expressiveness of Gothic and early Renaissance art. In earlier Romanesque traditions, religious figures were depicted with rigid, hieratic forms, emphasizing divine authority over naturalism. In contrast, this sculpture moves toward Gothic sensibilities, evident in the Virgin's more individualized and serene expression, the subtle modeling of her facial features, and the graceful articulation of drapery folds.The Christ Child also displays a departure from rigid formality. While still slightly stylized, His raised blessing hand and delicate gestures suggest a move away from the static, miniature-adult depictions of earlier periods toward a more naturalistic portrayal. The throne upon which the Madonna sits, adorned with geometric and floral motifs, incorporates elements of Hispano-Moorish artistic influence, reflecting the unique synthesis of Christian and Islamic design elements that flourished in Castile and Aragon during the Gothic period. The sculpture's polychrome and gilding further reinforce this transitional quality, particularly in its use of the estofado technique, where layers of gold leaf were overpainted and incised to reveal intricate patterns. This decorative approach, associated with later Gothic and early Renaissance Spanish sculpture, highlights the increasing technical and artistic sophistication of Spanish woodcarving workshops.The broader historical context of this work aligns with Spain's evolving artistic landscape during the late Middle Ages. Unlike Italy, where classical marble statuary became dominant, Spain remained deeply committed to intricately carved and lavishly painted wooden sculptures, emphasizing their sacred presence within churches and religious institutions. Devotional imagery such as this Madonna and Child in Majesty served as a focal point for worship, reinforcing the theological role of the Virgin as the intercessor between humanity and Christ. By the 14th and 15th centuries, Spanish sculptors had absorbed Gothic influences from France and the Low Countries, particularly through Burgundian and Flemish artists, leading to a synthesis of styles that maintained Gothic verticality while introducing more naturalistic facial expressions and drapery treatments.Issued: Circa 15th centuryDimensions: 16"L x 10"W x 40"HCountry of Origin: SpainProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear.

This finely carved and polychromed wood sculpture of the Madonna and Child is attributed to the Austrian (East Tyrol) School, a distinguished regional tradition of woodcarving that flourished from the late Renaissance into the Baroque period. Likely dating from the mid-17th to early 18th century, the composition presents the crowned Madonna seated in majesty, holding a scepter as the Christ Child balances on her lap, grasping an orb-a traditional symbol of his divine authority as Salvator Mundi (Savior of the World).The East Tyrol School was part of a broader Alpine tradition of master woodcarving, which thrived in Austria, Southern Germany, and Northern Italy during the 16th to 18th centuries. Rooted in the Gothic tradition, these workshops evolved under the influence of the Italian and Bavarian Baroque styles, blending dramatic expression with naturalistic details. The region's skilled artisans, often trained in monastic workshops, created religious sculptures that adorned churches, chapels, and private devotional spaces.Sculptures from the East Tyrol School are known for their graceful yet expressive figures, finely carved drapery, and polychrome decoration that enhances realism. Unlike the more theatrical compositions of the Italian Baroque, East Tyrol artisans emphasized piety and human tenderness, often portraying the Virgin Mary and Christ with soft, contemplative expressions rather than exaggerated movement.The influence of South German Rococo and Bavarian Baroque can be seen in the delicate rendering of facial features and intricate folds of drapery, while the use of gilding and rich color palettes reflects the influence of Venetian polychrome techniques. The present example exhibits these hallmarks, particularly in the lifelike facial expressions and the detailed treatment of textiles.Likely commissioned for a church or private chapel, this sculpture would have served as an object of veneration, reinforcing Catholic teachings on the divine role of the Virgin Mary and Christ. During the Counter-Reformation period, which saw a revival of religious imagery in Catholic Europe, such sculptures played an essential role in inspiring devotion and reinforcing doctrinal themes.The back of the sculpture bears an inscription, "1646 MB," though it is uncertain whether this marks the actual date of creation or a later addition the date is consistent with the style and artistic elements presented. Artist: Austrian (East Tyrol) SchoolIssued: Mid 17th- Early 18th centuryDimensions: 34"L x 18"W x 61"HCountry of Origin: AustriaProvenance: Chapel near Lienz, Austria; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Sporadic areas of chipped wood. The cross is missing on the orb.

An exceptional example of a Baroque religious putto, attributed to the Tyrol School, Austria, dating to the 17th or early 18th century. This masterfully carved wooden figure captures the exuberance and dynamism characteristic of the Baroque period, a time when religious sculpture was created to evoke emotion and spiritual devotion. The putto is depicted in mid-motion, its outstretched arm and expressive gaze adding a sense of movement and lifelike presence.A putto is a cherubic, winged or wingless child-like figure frequently found in Renaissance and Baroque art, sculpture, and architectural ornamentation. Putti, often depicted in playful or reverent poses, originated from classical antiquity, where they were associated with Eros (the Roman Cupid). During the Italian Renaissance (14th-16th century), artists such as Donatello and Raphael revived the motif, integrating putti into both secular and religious compositions. By the Baroque period (17th-18th century), putti became prominent elements in church decorations, symbolizing divine presence, joy, and the celestial realm. In the Catholic tradition, putti were often used to embellish altarpieces, pulpits, ceiling frescoes, and religious processional sculptures, reinforcing the grandeur and emotional intensity of Counter-Reformation art. This particular example, with its dynamic posture and gilded drapery, exemplifies the dramatic theatricality of Baroque religious sculpture, designed to engage the viewer and draw them into a transcendent experience.The Tyrol region, which today spans parts of Austria and northern Italy, became a major center for wood carving and religious sculpture from the late Middle Ages through the 19th century. By the 16th and 17th centuries, Tyrolean artisans were recognized for their highly skilled craftsmanship, producing altar figures, crucifixes, and devotional sculptures for churches and monasteries across Central Europe. The Tyrol School, active predominantly between the 17th and early 19th centuries, was particularly influenced by Italian Baroque sculpture, notably the works of Gian Lorenzo Bernini (1598-1680), whose dramatic compositions emphasized movement, realism, and emotional intensity.During the Counter-Reformation (16th-18th century), the Catholic Church commissioned elaborate sculptural programs to inspire devotion and reinforce Catholic doctrine in response to Protestant movements. Tyrolean sculptors, working within this religious fervor, created highly expressive, polychrome-painted wooden sculptures that mirrored the grandeur of Baroque altarpieces. Artisans in this school often used limewood or pine, materials abundant in the Alpine region, allowing for intricate detailing and realistic anatomical rendering.The Hallstatt, Innsbruck, and Bolzano workshops were particularly notable centers of Tyrolean Baroque sculpture, producing works that combined Germanic naturalism with the ornate drama of Italian Baroque art. Many of these figures, including putti like this one, would have adorned cathedral ceilings, altars, or processional platforms, creating a visual connection between the earthly and the divine.This piece, with its delicate polychrome facial features, elaborate curling locks, and rich gilded drapery, is a textbook example of 17th-18th century Tyrolean craftsmanship. The original mounting holes and iron hanging ring suggest it was once affixed to a larger ecclesiastical setting, possibly part of a pulpit canopy, choir loft, or altarpiece ensemble.Artist: Tyrol School Issued: Mid 17th-18th centuryDimensions: 18"L x 13.50"W x 27"HCountry of Origin: Austria and ItalyProvenance: Chapel near Lienz, Austria; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Gilding on the drapery has been professionally restored.

This early 15th-century Spanish Gothic polychrome wood sculpture represents the Madonna and Child in Majesty (Sedes Sapientiae), a revered image in medieval Christian art. Seated on an architectural throne, the Virgin is depicted wearing a flowing mantle and an ornate crown, signifying her role as the Queen of Heaven, while holding the Christ Child in a frontal, formalized composition. The rigid symmetry and solemn expression of both figures exemplify the Spanish Gothic tradition, which favored spiritual presence and iconographic clarity over naturalism. The remnants of polychrome decoration, particularly the red, white, and gold pigments, are characteristic of Spanish religious sculpture, where wood carvings were elaborately painted and gilded to enhance their sacred significance.The sculpture's construction and style strongly suggest an origin in Castile or Catalonia, regions known for their polychrome wood devotional sculptures. The Virgin's broad, linear drapery folds and the weighty, columnar structure of her figure reflect the Spanish preference for imposing, hieratic forms, distinguishing it from the more fluid and naturalistic interpretations found in French Gothic sculpture. The Christ Child, seated on her lap, maintains a frontal, solemn expression with a gesture of blessing, a composition frequently seen in Spanish Gothic works from the 14th and 15th centuries. Unlike the tender, interactive relationship often depicted in French Gothic versions of the Madonna and Child, the Spanish tradition maintained a more austere, theological presentation, reinforcing Mary's role as the divine throne for Christ.The architectural throne further supports the Spanish attribution, particularly with the presence of polychrome motifs on its sides. In Spanish Gothic sculpture, especially in Castilian and Catalan workshops, the inclusion of painted geometric or heraldic elements on thrones was a common practice, often linking the figure to ecclesiastical or noble patronage. The throne's solid, rectangular structure reflects the continued influence of Romanesque aesthetics in Spain, where monumental religious sculpture retained an emphasis on geometric solidity and ornamental detail. This type of enthroned Madonna was widely produced for use in altarpieces (retablos) or private devotional settings, where such images served as focal points for prayer and veneration.Artist: Spanish SchoolIssued: Circa early 15th centuryDimensions: 13"L x 9"W x 28"HCountry of Origin: France/SpainProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Sporadic loss of color.

A finely carved early Renaissance German School polychrome sculpture of Saint Anne, the revered mother of the Virgin Mary, depicted in a dignified seated position. Hand-carved from solid oak, this sculpture exemplifies the skilled craftsmanship of Northern European religious art during the late 15th to early 16th century, a period characterized by deep devotion and refined naturalism in sacred representations.This piece reflects the artistic traditions of the German School, which flourished in regions such as Swabia, Franconia, and the Rhineland, producing some of the most revered wood sculptures of the period. Influenced by both Netherlandish realism and Italian Renaissance ideals, sculptors of this era sought to balance intricate Gothic detail with an emerging Renaissance sense of naturalism and human emotion. Masters such as Tilman Riemenschneider (1460-1531) and Veit Stoss (c. 1447-1533) were renowned for their ability to imbue religious figures with lifelike expressions and dynamic drapery-qualities evident in this exquisite representation of Saint Anne.Saint Anne, a highly venerated figure in medieval Christian tradition, is portrayed wearing a voluminous, draped robe and a modest veil, symbolizing her wisdom and piety. Her expression, though softened by time, conveys a gentle serenity, as she gestures toward an open illuminated manuscript or scripture, reinforcing her role as the educator of the Virgin Mary. The “Saint Anne as a Teacher” motif was particularly prominent in German and Netherlandish devotional art, emphasizing her importance in Christian genealogy and education. Saint Anne was commonly depicted in “Anna Selbdritt” compositions, showing her alongside the Virgin Mary and the Christ Child. However, solo depictions, such as this sculpture, also held significant devotional value, often placed in monastic settings, private chapels, or Marian altars.Carved from oak, a favored material among German sculptors for its durability and fine grain, this sculpture retains subtle traces of original polychromy, particularly red and green pigments in the folds of her garments. While much of the paint has worn away due to centuries of exposure, these remnants provide a glimpse into the sculpture's original vibrancy. The surface exhibits a rich, aged patina, with visible cracking and wear, consistent with its age and devotional use.Beneath the figure, two mounting screws suggest that the sculpture was once securely affixed to an altar, niche, or ecclesiastical furnishing, a common practice for religious sculptures intended for chapels or monastic settings.Artist: German (Rhenish) SchoolIssued: 15th centuryDimensions: 16"L x 9.50"W x 34"HCountry of Origin: GermanyProvenance: Wenzel Collection; John and Johanna Bass Collection, New York, NY Bass Museum of Art, Miami Beach, FL 1963. Condition: Age related wear.

This 16th-century polychrome wood sculpture, attributed to the German School, is a striking representation of Saint Anne instructing the young Virgin Mary, a devotional theme that gained prominence in Late Gothic Christian art. During the Late Gothic period (c. 14th-16th century), wooden polychrome sculpture flourished in German-speaking regions, particularly in religious settings such as churches and private chapels.This sculpture captures a devotional composition depicting Saint Anne as the instructor of Mary, a subject widely venerated in Germany and the Low Countries. Unlike the Anna Selbdritt motif, which includes the Christ Child alongside Mary and Anne, this two-figure representation emphasizes Saint Anne's role in educating her daughter in scripture and faith. This sacred motif symbolizes the transmission of divine wisdom from mother to daughter, reinforcing Mary's spiritual and intellectual preparation for her role as the Mother of Christ.The sculpture's expressive realism, deeply carved drapery, and solemn facial expressions are hallmarks of the Swabian or Bavarian Late Gothic tradition, possibly linked to workshops influenced by Michel Erhart (Ulm), Hans Leinberger (Landshut), or Gregorius Erhart (Augsburg). These sculptors were known for their naturalistic facial features, softly flowing drapery, and masterful polychrome techniques, all of which are evident in this piece. Remnants of the original polychrome and gilding are still visible, with traces of red, green, black, and gold pigments accentuating the folds of the garments and facial details.The sculpture remains structurally sound, retaining a rich patina with areas of age-related wear consistent with its 16th-century origin. Its freestanding design suggests it was likely intended for an altar setting, private chapel, or devotional niche. Artist: German SchoolIssued: Circa 1500Dimensions: 13"L x 13.50"W x 38.50"HCountry of Origin: GermanyProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. The holy book exhibits missing wooden sections on its corners and scattered areas, along with a loss of polychromy.

English School. Midlands. Nottingham. Gothic. Circa 1350 - 1375."Virgin"Alabaster sculpture with remnants of polychrome and gilding.62 x 12 x 13 cm.  It could possibly be Saint Catherine: her attribute, which would be on her feet, is missing.From the mid-14th century until the iconoclastic crisis, which occurred with the Anglican Reformation in the 16th century, alabaster sculpture workshops flourished in central England, especially around Nottingham. There was a great boom in monumental and funerary sculptures, as well as in reliefs or altarpieces intended for the local market and for export.Alabaster carving, mainly extracted from the quarries of Tutbury and Chellaston near Nottingham, took on industrial proportions in England between the mid-14th and early 16th centuries. The market for altarpieces and small devotional images was very extensive. It included not only religious foundations but also bourgeois classes. Hundreds of English alabaster sculptures were exported, some as far as Iceland and Santiago de Compostela. Bibliographic reference:- Cheetham, Francis. English Medieval Alabasters. Oxford: Phaidon-Christie's Limited, 1984. p. 191 (cat. 118)

M.F. Husain, "Sawari", Hand-Painted Wooden Toy (1913-2011).A hand-painted wooden toy sculpture by M.F. Husain, depicting a stylized horse and rider in bold geometric patterns. The composition is rendered in vibrant colours with sharp angular forms, evoking a sense of dynamic motion and traditional folk art influences. The back is signed "Husain."Maqbool Fida Husain (1913–2011) was one of India’s most celebrated modern artists, often referred to as the "Picasso of India." A pioneering figure in Indian contemporary art, Husain was known for his bold, expressive style, which fused traditional Indian themes with modernist influences. His works, characterized by fluid lines, vibrant colours, and fragmented forms, often depicted themes from Indian mythology, rural life, and urban modernity. He was a founding member of the Progressive Artists' Group, which sought to break away from colonial artistic traditions and establish a new, independent identity for Indian art. Husain’s career spanned over seven decades, during which he gained international recognition, but also courted controversy for his depictions of Hindu deities in unconventional forms. Despite facing political and religious opposition, he remained an influential force in the art world, leaving behind a legacy that continues to inspire artists and collectors globally.Approximately 30 x 19.2cmProvenance:From a distinguished collector based in the United States.

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

Religious objects, An imposing wooden sculpture of Saint Catherine with the head of Emperor Maxentius. With a purchase invoice from Jan Pareyn, antique dealer in Kortrijk from 1983 (oak?) Early 18th century. | 137 x 52 x 42 cm.

Religious objects, an interesting lot with 7 objects related to Saint Catherine including a terra cotta sculpture, illegibly signed and dated and a fine palm wood carving. 18th-19th century. | terra cotta sculpture: 36 x 18 x 14 cm.

Religious objects. A polychrome wood sculpture depicting the child Jesus in Salvator Mundi. 17th-18th century. | 77 x 33 x 21 cm. | Condition: old damage.

Religious objects, 6 religious representations in wood carving after antique models. Circa 1900-1940. | Largest sculpture: 63 x 28 x 15 cm.Panel: 36 x 25 cm.

λ  HOSSEIN VALAMANESH (IRANIAN/AUSTRALIAN 1949-2022) CHAI, AS CLOSE AS I COULD GET, 1998 MDF, enamel paint, fluorescent light, Perspex, water, glass, tea Height 83cm (32½in.) Edition of 5, plus A/P.Hossein Valamanesh (1949-2022) was an Iranian-Australian artist particularly known for his work in sculpture and installation. Born in Tehran, Valamanesh emigrated to Perth after completing his artistic studies. He spent time in Aboriginal communities before settling in Adelaide, where he would rise to prominence. Valamanesh never lost sight of his native Persian culture, investing his works with commentary on identity and nationhood. The artist's œuvre is remarkable for its assured minimalism and use of natural materials, as well as poetry and calligraphic text. A learned, literary mind, Valamanesh never shrinks from grand ontological questions, employing circular motifs to reflect his belief in the unity of Man and nature. The artist suffered a heart attack in 1995, which prompted him to engage with themes of mortality and transience. Valamanesh is survived by his wife, Angela, with whom he undertook numerous public commissions. His works have been exhibited internationally, including at Grey Noise, Dubai, Galerie Tanit, Munich, and the Institut des Cultures d'Islam, Paris. Valamanesh's work can be found in all Australian state collections, as well as the Kadist Art Foundation, Paris, and the Sara Hildén Art Museum, Tampere. He is the recipient of numerous awards, such as the Grand Prize at the 8th Asian Biennial (1997) and the Smithsonian Artist Research Fellowship (2014); in 2010, he was declared a Member of the Order of Australia.It is no coincidence that Chai, as close as I could get figures prominently on the cover of the artist's 2011 monograph, Hossein Valamanesh: Out of Nothingness. The installation calls forth familiar descriptors: spiritual, ethereal, poetic, understated. Visually inspired by a glass floating in a bubbly sink, Chai embodies the humility one has come to expect of Valamanesh's work. (1) In accessible formal language, this installation invites the viewer to resolve its title. Whereto is Valamanesh getting close? How does Chai answer this question? The artist's practice owes itself to many quarters: Arte Povera, Persian poetry, Sufi philosophy, Aboriginal Australia. The diversity of Valamanesh's references reflects his own composite identity, while his use of tea conjures up associations with trade and travel. Chai may be read as an eloquent and at least partly autobiographical commentary on migration. The tea hovers above the water, bathing in its light. The brightness and purity of this arrangement elevate the everyday to an almost religious experience, recalling the Islamic practice of wuḍūʾ and baptismal fonts. Chai is a monument to the transubstantial process of uprooting and resettling, inspiring a sense of what critics have termed 'cosmopolitan belonging,' fraught and challenging though it may prove. (2) Here, tea and water have achieved comfortable, amicable proximity, though they will never make contact. Perhaps - as the unmixed liquids imply - total assimilation is unlikely. The tranquil equilibrium of Chai suggests that this is no cause for regret. Rather, as Valamanesh's life and work demonstrates, cultural integration is possible, desirable even, when one settles in a new land without ever losing sight of the first.Here, the floating glass is held in delicate suspension, its contents recommending that we pause, sip, and breathe for a moment. As the great astrologer-poet Omar Khayyám once intoned, 'Each Morn a thousand Roses brings, you say: / Yes, but where leaves the Rose of Yesterday?' (3) This life is fleeting, yes, but so too is the fear of its end; Valamanesh invites us to embrace existence in all its beautiful fragility. Chai is not so much a memento mori, then, as a whispered carpe diem. To borrow the title of Valamanesh's first European retrospective, itself an allusion to Sufi poetry, Puisque tout passe: this too shall pass.1. Mary Knights and Ian North, Hossein Valamanesh: Out of Nothingness (Kent Town, S. Aust.: Wakefield Press, 2011), 88.2. Marsha Meskimmon, Contemporary Art and the Cosmopolitan Imagination (United Kingdom: Taylor & Francis, 2010), 86.3. Omar Khayyám, Rubáiyát of Omar Khayyám, trans. Edward FitzGerald (United Kingdom: University Press of Virginia, 1997), 97. Condition Report: PLEASE NOTE: ALL LOTS IN THIS AUCTION ARE NOT AVAILABLE TO VIEWEvidence of handling marks and dirt throughout. The glass has a small chip on the ring and the gilding has slightly faded. Otherwise good original condition throughout PLEASE NOTE: ALL LOTS WILL BE AVAILABLE TO COLLECT FROM SACKVILLE WEST STORAGE IN ANDOVER, SP10 3SA, TWO DAYS AFTER THE AUCTION. Condition Report Disclaimer

Dimension: Height 23 cm ; Wide 26 cm ; Depth 11 cmWeight: 3075 grams Bronze elephant, depicted kneeling on a rectangular pedestal adorned with a row of small lotus motifs along its edge. Saddle-like decoration on the elephant’s back.The elephant's trunk is elegantly curved upwards, holding a layered parasol. The elephant is often associated with wisdom, strength, and divinity. In religious iconography, elephants are connected to Hindu and Buddhist traditions. The parasol-like object the elephant holds with its trunk could symbolize royalty, protection, or divine authority. Parasols often represent sheltering divinity or enlightenment in Buddhist art. Imagine this sculpture as the centerpiece of a grand temple, where it serves as a guardian spirit. Its presence tells a story of ancient rituals where offerings were placed in the parasol, invoking blessings.The kneeling position reflects humility and devotion, while the upward-curved trunk signals celebration and divine energy.This elephant could be seen as a bridge between earthly existence and higher realms, inspiring reverence and introspection. Please have a look here

Dimensions Height: 14,2 cm Wide 9,3, cm Depth 6,6 cm Weight: 593,8 grams Some minor imperfections, such as chipping or wear on the hair curls, contribute to its authenticity and antique appeal. A vajra is placed in front of his ankles, symbolizing his position as the spiritual sire of the Vajra Family of buddhas and bodhisattvas.Overall, this sculpture is a spiritual and artistic masterpiece, combining refined craftsmanship with deep religious symbolism. It represents not just the image of the historical Buddha, but also a path to enlightenment revered by followers of Buddhism. Provenance:Collection Annelise Freiheit , purchased 1980's in LhasaInherited early 2000 to her daughter , who moved to SwedenPurchased by the present owner in 2024 Please find the photos here

1.Salvation - The Holy Land (Andres Serrano)A photography book by Andres Serrano focusing on religious and sacred imagery, exploring themes of spirituality and iconography.2.Uffizi GalleryA guidebook featuring artworks from the Uffizi Gallery in Florence, Italy, home to Renaissance masterpieces including works by Botticelli, Michelangelo, and Leonardo da Vinci.3.[Book with Furniture Art Cover]Likely a book on modern design or an exhibition catalog, featuring contemporary or minimalist furniture pieces.4.With Space in MindA book focusing on modern art or sculpture, possibly featuring works that explore abstract, space-related themes.Second Row (Left to Right):5.Beeldentuin Kröller-Müller MuseumA book about the sculpture garden at the Kröller-Müller Museum in the Netherlands, highlighting its renowned collection of modern sculptures.6.Van Trajanus tot TajiriThis book likely explores the journey from ancient Roman art (Trajanus) to modern or contemporary artists (such as Tajiri).7.I Promise to Love YouAn art or photography book possibly focused on love as a central theme, presented by Cadic Collection.8.Loss of ControlA book on contemporary art, focusing on the theme of losing control, and potentially examining abstract or avant-garde pieces.9.Guggenheim MuseumA guidebook to the Guggenheim Museum, showcasing its architecture and iconic modern art collection.Bottom Row (Left to Right):10.BelvédèreLikely a catalog or guide from the Belvedere Museum in Vienna, featuring its collection of Austrian art, including works by Klimt and Schiele.11.LouvreA small guidebook for the Louvre Museum, highlighting its vast collection, including the Mona Lisa and other significant works.12.The Metropolitan Museum of Art (Guide)A comprehensive guide to the Met’s extensive collection, covering a variety of artworks from different cultures and time periods.13.The Collections of the British MuseumA book detailing the vast and diverse collection of the British Museum, from ancient artifacts to contemporary pieces.14.National Gallery of IrelandA book showcasing the collection of the National Gallery of Ireland, featuring European and Irish masterpieces.15.Vatican MuseumsA guide to the Vatican Museums, highlighting famous artworks like the Sistine Chapel ceiling by Michelangelo.This lineup appears to be a curated selection of museum and exhibition catalogs, offering an insight into various art collections and exhibitions worldwide.

λ AN ITALIAN SICILIAN GILT COPPER, CORAL AND ENAMEL CAPEZZALETRAPANI, SECOND HALF 17TH CENTURYwith a central group of the Madonna and Child wearing gilt crowns with pearl orbs inside a border of coral and enamel flowerheads, the octagonal frame surrounded by foliate scrolls, the reverse engraved with foliate strapwork in a glazed hardwood box frame49.5 x 34.5cmCatalogue Note From the end of the Middle Ages . the city of Trapani on the west coast of Sicily became an important artistic centre due to its coral reefs. A guild of coral workers was established in Trapani in 1628. Coral was prized for both its colour and unusual texture and it was believed to have the power to word off the ‘evil eye’. One of the most popular objects were capezzale, a devotional plaque decorated with religious figures set in engraved copper frames with rich coral inlay but other secular items such as jewellery, caskets and inkstands were made and found their way into grand European collections. For a similar example see Christie’s. Paris, Sculpture et Objets D’Arts Europeens, 16th June 2015, lot 44.

bronzed plaster A bronze of this sculpture is in the collection of Celtic F.C. Note on both Schotz and Thomson: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club. Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece. Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal. Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history. 40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 51cm wide

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plasterExhibited:Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20.Note:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. 59cm high including wooden plinth

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed resinA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 101cm wide

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed plasterA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 51cm wide

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

SCULPTOR OF THE TURN 18TH / 19TH CENTURY (Flanders / Flemish / Belgian) - Madonna in Gothic style | turn of the 18th / 19th century | technique: cut wood, polychrome | 95 cm | Lot description | This 18th century statue of the Madonna and Child is created in the late Gothic style, which is characterized by strict verticality and spiritual symbolism. The sculptor was inspired by Gothic designs, which is evident in her calm expression and the fine workmanship of the drapery, which gives the figure lightness and an impressive grandeur. The Madonna holds the baby Jesus in her arms, symbolizing the salvation of mankind, and her expression is the embodiment of kindness and humility. The polychromy that decorates the surface of the sculpture underlines the emphasis on detail and color, thereby adding to the monumentality of the entire composition. This sculpture is a valuable example of the historicist approach of 18th century artists to Gothic art and represents a harmonious connection of religious iconography with aesthetic values. | condition report*In case of missing photos, please feel free to contact us.

A continental late 19th century hand carved wood ecclesiastical religious icon figure of a Christian Saint, believed St. Matthew. The sculpture depicting the saint with stretched and raised arms in traditional tunic. Raised on squared plinth base.Measures approx. 75cm x 35cm x 30cm.

Carved and polychrome wood. Dimensions 61 × 32 × 22 cm. This pair of bust-shaped reliquaries, belonging to the Spanish Baroque of the 17th century, shows two male figures, probably saints or religious figures, with marked features and intense expressions. The busts, with hollows in the chest intended to house relics, stand out for their high level of detail in the faces and clothing, as well as for the application of polychromy with natural pigments, which adds depth and realism to the figures. These reliquaries, beyond their devotional function, were commissioned by noble families and religious institutions to decorate chapels and oratories, and reflect the splendor of religious sculpture during the Counter-Reformation in Spain.

Carved and polychrome wood. Dimensions 68 × 26 × 22 cm. The late Baroque or Rococo sculpture from the 18th century shows the Infant Jesus standing, with a dynamic posture that conveys movement. His face, serene and full of tenderness, stands out for its childlike sweetness and its ability to evoke a devotional connection. The carving technique is detailed, especially in the face, hands and clothing, where the polychromy applied with natural pigments adds depth and realism. This work, very common in religious imagery of the time, represents the humanity of Christ in his infancy, being a piece appreciated both in private devotion and in churches. Its symbolism and style make it a valuable piece for collectors of religious art.

Cast in lead with polychrome oil. Dimensions 50 × 33 × 14 cm. The image of the Child Jesus, standing with a solemn expression and open arms, symbolizes victory over sin and death. The lead casting gives him a remarkable physical presence, while the polychrome oil adds a chromatic vivacity that highlights the facial and body details. This sculpture reflects the Spanish Baroque tradition, which seeks to combine religious devotion with detailed and expressive artistic execution.

Carved and polychrome wood with gold leaf details. Dimensions 28 × 35 × 25 cm. This 18th-century colonial sculpture combines the imposing figure of an eagle, a symbol of power and spiritual elevation, with a religious scene of the Annunciation. The piece, which also functions as a candelabra, reflects the Baroque style, characterized by its dynamism and ornamentation. The detailed carving of the eagle's feathers and the masterfully applied polychromy create a vibrant and expressive work, while the use of gold leaf in decorative elements highlights its majesty. This sculpture not only has aesthetic value, but also functional value, as part of the religious and daily life of colonial America.

§ Arthur Dooley (1929-1994), three bronze 'Workers Control of Fisher Bendix Kirkby Jan 72' fish, each moulded 'A.D. / 72' to the bodies 6.5cm wide Acquired by the vendor's husband, who was working at Conran's Design Group in Deansgate, central Manchester, at the time of the strikes. According to the vendor, he too too had come from a working class background and was thus keen to support their cause and purchased these during a working tour of the city in 1972, the year he and the vendor were married. Born on January 17, 1929, Arthur Dooley is remembered as a significant sculptor whose work was deeply intertwined with his political beliefs and advocacy for social justice. His life journey from a merchant seaman and welder to a celebrated artist is as compelling as his sculptures, which often depicted the struggles and resilience of the working class. Dooley's early life was marked by diverse and challenging experiences. Leaving school at the age of 14, he took on various jobs, including working as a merchant seaman and later as a welder at Cammell Laird shipyards in Birkenhead. These early jobs, particularly in heavy industry, had a profound influence on his artistic vision. It was during his time as a welder that Dooley began attending night classes in sculpture, which set him on the path to becoming an artist. His talent blossomed further when he enrolled at St Martin's School of Art in London, where his raw, expressive style began to take shape.Dooley's sculptures are noted for their powerful emotional impact and often feature religious and social themes. Working primarily with bronze and steel, materials that mirrored his industrial roots, he created pieces that were both robust and deeply evocative. Central to his art was a strong sense of social justice and solidarity with the working class. This commitment to social issues was not just thematic but also active, as seen in his involvement with the 1972 Fisher Bendix worker strikes in Kirkby, near his native Liverpool.The Fisher Bendix factory strikes were a pivotal moment in Dooley's life and career. Faced with job losses and poor working conditions, the workers went on strike and eventually occupied the factory in a desperate bid to save their jobs. Dooley's support for the workers went beyond mere sympathy; he actively participated in their cause, using his art and public presence to amplify their struggles. In solidarity with the workers, Dooley produced the present works as tokens to be sold at the factory gates, with the proceeds being donated to the striking workers. This involvement underscored his belief in art as a tool for social change and his deep connection to the working-class community. All three in good condition.

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

FERNANDO BOTERO (1932-2023)Maternidad signed, stamped with the foundry mark and numbered 'Botero E-A 1/2' (on the back of the chair)bronze with brown patina47 x 19.5 x 32cm (18 1/2 x 7 11/16 x 12 5/8in).Conceived in 1955, this work is from an edition of 6, plus 2 artist's proofs.Footnotes:ProvenanceFoundation Veranneman, Belgium.Private collection, Madrid (acquired from the above in 2000).Thence by descent to the present owner. LiteratureJ.C. Lambert & B. Villegas (eds.), Botero Sculptures, Colombia, 1998 (illustrated p. 205 and n.p.)Renowned for his distinctive style of voluptuous and exaggerated forms, the Columbian artist Fernando Botero has left an indelible mark on the history of art. Acclaimed globally for his instantly recognisable paintings, Botero's venture into sculpture has further enriched his artistic repertoire over course of his career. Under the tutelage of Robert Longhi, a distinguished specialist on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that permeates much of his oeuvre. The canon of art history, especially the European one served as a rich source of inspiration, yet he shifts classical art historical topics into the realm of the everyday and the trivial, infusing them with his own personal experiences and the essence of his native Colombia. Today, Fernando Botero is recognised as one of the most important Colombian modern artists and his works are held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogota. In 1958 and 1992, Botero also participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. Inspired by the great classical masters, from Raphael, Peter Paul Rubens and Titian, to Giotto and Paolo Uccello, Fernando Botero's style is a modern interpretation of the ever-evolving thread of form. After moving to New York in 1990, he continued to develop his trademark style of bulbous and exaggerated figures and animals, drawing inspiration from Rubens' full-figured representations of female beauty. Often profoundly satirical, Botero asserts that his now iconic style - aptly termed 'Boterismo' - allowed him to explore mass and the sensuality of form, as well as to stress notable features in an almost caricature-like manner. 'Sculpture was a natural experience in my evolution because of the obvious sculptural element in my paintings,' Botero acknowledges. 'This was a return to simplicity, to growing indifference to details and to a more geometric awareness of shape.' (the artist quoted in: Botero: Aquarelles, Dessins, Sculptures, Basel: Galerie Beyeler, 1980).Botero first began experimenting with sculpture in 1972, eventually expanding his métier from wood and clay to bronze, the medium in which has best translated the pillowy volumes of his paintings into three dimensions. Since the early 1980s, his summer were dedicated to sculpture, working from a studio in Pietrasanta, a small town on the Tuscan coast that has attracted many famed artist-residents from Michelangelo to Isamu Noguchi and Henry Moore. Botero's sculptures are characterised by the same aesthetic principles that define his paintings – exaggerated volumes, harmonious proportions, and a playful approach to form. Transitioning from canvas to the three-dimensional, Botero has given his iconic subjects a tangible and interactive presence, encouraging viewers to engage on a more physical level. Whilst humour and irony are present in his work, the magnified proportions of Botero's figures can be interpreted as an endearing nod to the pleasure of the tactility of life and beauty explored through the female form.This smooth sensuality and the fertile lyricism of the curvaceous form is palpable in Maternidad. The medium highlights the monumentality of the sculpture and accentuates the enduring timeless quality and solidity of the work. Botero himself recognised the significance of his sculpture within his canon, and the sensorial potential it has on viewers. 'Certainly, in a painting you give the illusion of truth, but with sculpture, you can touch its reality. . . If I paint a knife in my pictures, it's imaginary, but if I sculpt it, then the sensation of having it in your hand is real— it's an object from your spirit, it's a sensual experience even in its execution. It brings a special joy to touch the material with your hands.' (the artist quoted in: 'Botero: A Love Letter to Latin America', operagallery.com, 19 September 2023). Maternidad wonderfully captures the essence of motherhood; the plumpness of the bodies perhaps helps convey this sense of maternal abundance and the fertility associated with motherhood, while her gentle embrace and the placement of her hand on her chest suggestive of a sense of tenderness. Domestic life is a central motif in Botero's body of work, especially women's roles within it. Here, Botero portrays the quintessential woman as both mother and caregiver to her young child combined with the heavy weight of art historical and religious iconography and a sense of shared human experience.Botero's international recognition and ability to transcend geographical and cultural boundaries have boosted the visibility of Latin American artists on the global stage. His contributions to the world of art are substantial and his unwavering commitment to his artistic vision has earned him a notable place in the history of art. Botero's oeuvre serves as a bridge between traditional and contemporary art, developing a melange classical techniques and modern and innovative flair. By embracing diversity and celebrating the inherent charm in each of his subjects, he challenges conventional notions of beauty and representation and forces viewers to reconsider their preconceived notions and stereotypes.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Medieval History, Monuments and Church. LELAND (John) The Itinerary of -- in England and Wales, 5 vols., Centaur Press 1964, 8vo, cloth; KNOWLES (David) The Religious Orders in England, CUP 1957-60, dust jackets; The Monastic Order in England, 1963, dust jacket; GRESHAM(C A) Medieval Stone Carving in North Wales, 1968, 4to, cloth; GARDNER (A) English Medieval Sculpture, 1951, 4to, cloth; PHYSICK (J) Designs for English Sculpture 1680-1860, HMSO 1969, signed by the author, dust jacket; GREENHILL (F A) Incised Effigial Slabs, 2 vols., 1976, 4to, cloth; TUMMERS (H A) Early Secular Effigies in England, 1980; BENHAM (Canon) Old St Paul's, 1902, illustrated, cloth; FRYER (Alfred C) Wooden Monumental Effigies in England and Wales, 1924, 4to, light foxing, author's letter and inscription, cloth; WALL ( J C) The Tombs of the Kings of England, 1891, 8vo, cloth; others (27)

A polychrome decorated wooden sculpture of Louis IX of France as a crusader on a console and a pair of Gothic Revival brass candlesticks, 19th/20th C.H 67,5 cm (the sculpture) H 35 cm (the console) H 59 cm (the candlesticks) The statue of Louis IX of France or Saint Louis with an accompanying console. The perception of Louis IX by his contemporaries as the exemplary Christian prince was reinforced by his religious zeal. Louis was an extremely devout Catholic, and he built the Sainte Chapelle (Holy Chapel), located within the royal palace complex (now the Paris Hall of Justice), on the Île de la Cite in the centre of Paris. The Sainte Chapelle, a prime example of the rayonnant style of Gothic architecture, was erected as a shrine for the Crown of Thorns and a fragment of the True Cross, precious relics of the Passion of Christ. He acquired these in 1239-41 from Emperor Baldwin II of the Latin Empire of Constantinople by agreeing to pay off Baldwin's debt to the Venetian merchant Niccolo Quirino, for which Baldwin had pledged the Crown of Thorns as collateral. Louis IX paid the exorbitant sum of 135,000 livres to clear the debt (link).

This sculpture of Saint John the Evangelist, made of polychrome wood, depicts the saint seated with an open book, an attribute that identifies him as the evangelist who wrote the fourth Gospel. Dressed in a long tunic and a cloak decorated with gold motifs, the figure reflects the artistic and religious tradition of the 19th century. Measuring 28 x 14 x 18 cm, it is suitable for use on altars or places of private devotion. Its value lies both in its artistic quality, with finely executed details in the polychromy, and in its religious symbolism, being a testimony to the Christian faith. Authenticity, state of preservation and provenance are essential to determine its historical and economic value.

Religious objects: A lot with 6 various religious objects in stone, wood, terra cotta and silver. 17th-18th-19th century. | Height of sculpture in stone: 61 cm. | Condition: Missing pieces and damage.

TERENCE KOH (CANADIAN B. 1977) MYTH OF A MYTH, MARY, 2004 Cast statuette, plaster, metal, gold and gold leaf with glass display case 58.5 x 45 x 45cm (23 x 17½ x 171/2in.)Provenance: Peres Projects, Los Angeles Acquired from the above in 2007 The Canadian artist Terence Koh has courted popularity and controversy in equal measure. Koh has received solo exhibitions at MUSAC, Kunsthalle Zürich, and the Vienna Secession; his work can be found in the collections of MoMA, the Whitney Museum, and Tate Modern. From his beginnings as the creator of a zine under the alias 'asianpunkboy', Koh has pushed the envelope with infamous audacity. His irreverent œuvre combines lofty conceptualism and spirituality with alternative punk aesthetics. Koh's 2006 Untitled (Medusa) featured erection-bearing statuettes of the Virgin Mary; a similarly modified sculpture of Jesus infamously provoked uproar and even legal charges when it was exhibited in 2008. Myth of a Myth, Mary is a work of similar tensions: covered in gold leaf, the religious figurine has been displaced and installed in a pot.

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

Salvador Dalí,  Spanish 1904-1989,The Peace Menorah, c.1981;bronze with gold patina on a Jerusalem stone base, inscribed with signature and numbered 57/100, height: 35.7 cm, (ARR)Note: In 1948 the state of Israel was founded, at that time Salvador Dali was already a famous artist. He was close to Jewish culture and was always impressed by its history. He was certainly aware that the seven-branched candelabrum is one of the most important religious symbols of Judaism. The sculpture is called 'Menorat Hashalom', which translates as 'The Light of Peace'. In front of the entrance to Israel's Ben Gurion Airport, it stands 5 metres high as a monument. Written on the candelabrum are the Hebrew words for heroism, peace, infinity, strength, inner greatness and wisdom. The much smaller and numbered bronze version follows this example of an artistic monument. Literature: Robert Descharnes,p.268

Roman Period, 30 B.C.-323 A.D.. Carved hardstone figure of a Hamadryas Baboon (papio hamadryus), sacred to Thoth, crouching with his forepaws resting on his knees and wearing a segmented and banded hood and collar with elaborately carved textural detailing; face chipped and lower body absent. Cf. Loffet, H.C., La Collection Emmacha: Antiquités Égyptiennes 2 – Objets divers, Paris, 2013, pp.84-7 no.105, for a stone baboon with a similarly elaborate decorated collar; Bartman, E., The Ince Blundell Collection of Classical Sculpture Volume III. The Ideal Sculpture, Liverpool, 2017, pp.185-6, pl.162a, for a baboon statuette with less stylised rendering. 243 grams, 10.6 cm (4 1/8 in.). The baboon was considered an embodiment of the god Thoth. The animal was associated with both the sun and the moon, often depicted wearing a moon and crescent headgear. Together, these aspects symbolised the cycle of rebirth, as it was believed that the deceased travelled through the night and was reborn at dawn. Thoth was highly regarded for his connection to knowledge, healing, and writing. Scribes would wear a Thoth baboon amulet to ensure continued professional success. In the Roman era, Thoth became the 'primary pseudonymous authority for diverse priestly texts' (Frankfurter, D., Religion in Roman Egypt,New Jersey, 1998, p.240). As some religious centres with animal cults were maintained in the Roman Period, it is possible that this figurine was a votive offering to the god. Baboon figurines have also been discovered in Isis sanctuaries in Rome. This discovery may indicate the mythological connection between the two deities, as Thoth provides words to Isis, enabling her to revive her husband, Osiris.Ex Yorkshire, UK, collection, 1960s-1980s. [No Reserve]