The Burney Relief (also known as the Queen of the Night relief) is a Mesopotamian terracotta plaque in high relief of the Isin-Larsa period or Old-Babylonian period, depicting a winged, nude, goddess-like figure with bird's talons, flanked by owls, and perched upon two lions.

The relief is housed in the British Museum in London, which has dated it between 1800 and 1750 BCE. It originates from southern Mesopotamia, but the exact find-site is unknown. Displaying distinctive iconography, high relief and relatively large size (49.5 cm high), the object is a rare survival from the period.

The authenticity has been questioned from its first appearance in the 1930s. The dating, the identity of the main figure, and other aspects of the work have provoked much discussion among scholars, though a religious subject is generally agreed.

Initially in the possession of a Syrian dealer, who may have acquired the plaque in southern Iraq in 1924, the relief was deposited at the British Museum in London and analysed by Dr. H.J. Plenderleith in 1933. However, the Museum declined to purchase it in 1935, whereupon the plaque passed to the London antique dealer Sidney Burney; it subsequently became known as the "Burney Relief". The relief was first brought to public attention with a full-page reproduction in The Illustrated London News, in 1936. From Burney, it passed to the collection of Norman Colville, after whose death in 1974 it was acquired at auction by the Japanese collector Goro Sakamoto. British authorities, however, denied him an export licence. The piece was loaned to the British Museum for display between 1980 and 1991 (then registered as "Loan 1238"), and in 2003 the relief was purchased by the Museum for the sum of £1,500,000 as part of its 250th anniversary celebrations. The Museum also renamed the plaque the "Queen of the Night Relief". Since then, the object has toured museums around Britain.

Its original provenance remains unknown. The relief was not archaeologically excavated, and thus there is no further information about where it came from, or in which context it was discovered. An interpretation of the relief thus relies on stylistic comparisons with other objects for which the date and place of origin have been established, on an analysis of the iconography, and on the interpretation of textual sources from Mesopotamian mythology and religion.

Detailed descriptions were published by Henri Frankfort (1936), by Pauline Albenda (2005), and in a monograph by Dominique Collon, former curator at the British Museum, where the plaque is now housed. The composition as a whole is unique among works of art from Mesopotamia, even though many elements have interesting counterparts in other images from that time.

The relief is a terracotta (fired clay) plaque, 50 by 37 centimetres (20 in × 15 in) large, 2 to 3 centimetres (0.79 to 1.18 in) thick, with the head of the figure projecting 4.5 centimetres (1.8 in) from the surface. To manufacture the relief, clay with small calcareous inclusions was mixed with chaff; visible folds and fissures suggest the material was quite stiff when being worked. The British Museum's Department of Scientific Research reports, "it would seem likely that the whole plaque was moulded" with subsequent modelling of some details and addition of others, such as the rod-and-ring symbols, the tresses of hair and the eyes of the owls. The relief was then burnished and polished, and further details were incised with a pointed tool. Firing burned out the chaff, leaving characteristic voids and the pitted surface we see now; Curtis and Collon believe the surface would have appeared smoothed by ochre paint in antiquity.

In its dimensions, the unique plaque is larger than the mass-produced terracotta plaques – popular art or devotional items – of which many were excavated in house ruins of the Isin-Larsa and Old Babylonian periods.