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Click here to subscribeA George V hallmarked silver breast pocket cigarette case, 8 x 6cm, approx 1.35ozt/43g, a white metal case open face pocket watch, the white enamel dial set with Roman numerals and subsidiary seconds, diameter 4.5cm excluding winding crown, suspended on hallmarked silver watch chain (lacking T-bar), length 37cm, gross weight approx 125g, and a shock-proof leather slimline Art Deco style brass pocket watch, diameter of dial 4.5cm excluding winding crown (3).
MARINA B: AN ONYX, EMERALD, RUBY AND DIAMOND 'NAJWA' NECKLACE, CIRCA 1982Designed as a rope of onyx beads, spaced by links set with pear-shaped cabochon emeralds, brilliant-cut diamonds, and onyx and ruby sections, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered W347, with maker's mark 'S.A. P.B' for Sté Pierre-G. Brun, French assay marks, with maker's case, length approximately 83cm (slightly extensible)Société Pierre-G Brun is a jewellery workshop which worked for Cartier, Fred, amongst others. They were bought by Cartier in 2000.For a similar model, page 75: 'Marina B. The Art of Jewellery Design', by Viviane Jutheau de Witt, first published in 2003 by Skira Editore S.p.A. In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: A couple of beads discoloured to the front near the clasp (discreet) and a dozen on the reverseEmeralds: of bluish-green hue, medium tone, overall well matchedRubies: of purplish-red hue, medium tone, overall well matchedDiamonds: bright and livelySignature on clasp + maker's mark 'MB' for Marina B located on the tongue of claspEagle's head for French 18K gold + stamped OR750Maker's mark for Marina B - numbered W347With maker's mark for Société Pierre-G BrunClasp closes securelyNormal signs of wear, commensurate with ageTotal gross weight approx. 130g
MARINA B: A TOURMALINE 'PATRIZIA' RINGHorizontally set to the bezel, the oval-shaped pink tourmaline, set within a bi-coloured 18K gold hoop, signed Marina B, maker's mark 'MB', numbered, French import mark, ring size OCf: See Vivianne Jutheau de Witt (2003-2011) Marina B: The Art of Jewellery Design. Skira Editori for comparable rings, page 112, no. 214 (dated 1987). In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: Tourmaline: of purplish-pink hue, medium tone, good transparency, facets are smoothNumbered C1510Normal signs of wear, overall in good conditionTotal gross weight approx. 12.1g
Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732)"The First Journey of Saint James the Greater to Hispania"Oil on canvas.99 x 124 cm. Beautiful painting of great historical and religious relevance, as it shows the first of James' journeys to Hispania, which left a lasting legacy in the region. This trip took place in the first century A.D. According to tradition, James was sent to Spain as one of Jesus' apostles to spread Christianity in the region. After the death of Christ, a passionate and impetuous James was part of the initial group of the early church in Jerusalem. In his evangelizing work he was awarded, according to medieval traditions, the Spanish peninsular territory, specifically the northwestern region, then known as Gallaecia. Some theories suggest that the current patron saint of Spain arrived in the northern lands via the uninhabited coast of Portugal. Others, however, trace his way through the Ebro valley and the Cantabrian Roman road. There are even those who claim that Santiago reached the peninsula by the current Cartagena, from where he started his journey to the western corner of the map.During his stay, it is believed that he performed numerous miracles and converted many people to Christianity.This journey of Santiago was of great importance for the history of Christianity in the Iberian Peninsula. His presence contributed to the expansion of Christianity in the region and laid the foundations for the subsequent evangelization of the peninsula.We say that this was James' first trip to Spain, since the second occurred centuries after his death. According to tradition, after his death in Jerusalem, his remains were taken to Hispania by his disciples. It is believed that they were buried in a place that would later become the city of Santiago de Compostela. That transfer of remains had a great impact on the region. His tomb became an important place of pilgrimage and attracted thousands of the faithful from all over Europe. The Camino de Santiago, a pilgrimage route that runs throughout the Iberian Peninsula, developed around his tomb and became one of the most important pilgrimage routes in the world.In an idyllic landscape, with rich and abundant vegetation, we can contemplate a pilgrimage path that circles the river -perhaps the Ebro River-, with a bridge crossing it. The pilgrims have serene faces, full of devotion, kindness and smiles, marked by the joy of the moment. They travel on horseback and on foot, and there is a group resting above, contemplating the temple they are approaching, surrounded by cypress trees. One stands out, James, also known in Spain as Santiago, mounted on an imposing black and white horse, the only one who, with his deep and penetrating gaze, looks directly at the viewer. The Saint stops or is stopped by another pilgrim, who rides his donkey, and both experience a spiritual and deep encounter, reflected in their faces and gestures. Their expressions are serene, with their hands intertwined. The one on the donkey kisses the hand of the saint with reverence and devotion, aware of the spiritual power of this miraculous encounter. Both the Apostle and he have their hats removed, as a sign of respect, humility and spiritual reverence.James' journey to Galicia symbolizes the spiritual connection between East and West, becoming a cultural and religious bridge that would mark the history of Spain. As for the artist, we believe this canvas was painted by Melchor Pérez Holguín, one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans.As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín, as we can see in the work we offer.
LAWSON, J. Lectures concerning oratory. Ed. by E.N. Claussen & K.R. Wallace. (Facs. ed. 1758. 1972). Ocl. -- R.W. SMITH. The art of rhetoric in Alexandria. Its theory and practice in the ancient world. 1974. Owrps. -- R. STARK. Rhetorika. Schriften zur aristotelischen und hellenistischen Rhetorik. 1968. Owrps. -- M. FUMAROLI. L'age de l'eloquence. Rhétorique et "res literaria" de la Renaissance au seuil de l'époque classique. 1980. Owrps. -- A.D. LEEMAN. Orationis ratio. The stylistic theories & practice of the Roman orators, historians & philosophers. 1963. 2 vols. Ocl. -- And 8 o. (14).
A Roman bone fragment, circa 2nd-3rd Century A.D. carved with a temple scene, depicting a winged Nike above an altar, the fire tended by a kneeling figure below, she pours a libation into a dish above his head held out by a bearded male figure on the left, a second figure to the right of the scene, probably representing Apollo holding a lyre,8.5cm x 3.7cmProvenance: with Adam Prout, Didbrook; with Douglas Barratt, London 2011; Olympia Auctions, Matthew Barton Ltd, European & Asian Works of Art, 26 May 2021, Lot 248.
Ca. AD 1 - 300. A matched pair of gold earrings, each composed of a central spherical pearl bead held between two gold wire loops and framed within a twisted gold ring. Below the bead is a ribbed trapezoidal gold plate from which two suspension loops hang, each terminating in a pearl dangle. The ear wire extends from the back and loops over the top through a small attachment ring.For similar see: F. H. Marshall, MA., catalogue of the Jewelry, Greek, Etruscan and Roman in the department of Antiquities British museum.cat. 2648, Plate LV.Size: 23-24mm x 45940mm; Weight: 4gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 250. A necklace formed of a series of 17 gold settings containing inset white glass elements with central ridges, framed by beaded wire. Between each pair of settings are short linking loops, and the lower edge of each unit is fitted with a double drop of small pearls suspended from U-shaped gold attachments.For similar see: Marshall, Catalogue of Jewellry Greek, Etruscan and Roman, 1911, Cat. 2749, 2730.Size: 120mm x 30mm; Weight: 18gProvenance: London collection; Ex. Mayfair collection, acquired from an Ancient Art gallery; formerly acquired on the London art market pre-2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
Ca. AD 1 - 300. A terracotta jug with a wide cylindrical body, sloping shoulder, and a short neck leading to a pronounced rim. A single arching handle connects the shoulder to the rim.For similar see: Monaghan, John. Roman Pottery from the Fortress: 9 Blake Street. York: York Archaeological Trust, 1997.Size: 90mm x 80mm; Weight: 180gProvenance: Private UK collection, acquired on the US art market; Ex. collection of James Wolfensohn, NYC., acquired from Perspective Ltd., Jean-Michel Gozlan, King David Street, Jerusalem, Israel, 1990s.
Ca. AD 1 - 300. A bronze fragment from a lifesize statue, preserving the right eye and part of the surrounding facial contours. The almond-shaped eye is deeply recessed with a sharply defined upper lid, incised iris, and delineated tear duct. The fragment retains part of the brow ridge and upper cheek area, with a smooth, slightly concave construction.For similar see: P. Zancher, Roman Portraits, Sculptures in Bronze and Stone, The Metropolitan Museum of Art, New York, Distributed by Yale University Press • New Haven and London. p. 1, or p. 61.Size: 95mm x 70mm; Weight: 150gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100-300. An oval carnelian intaglio engraved with a depiction of Eros riding a dolphin showing the nude figure seated astride the animal with wings extending behind his shoulders. The dolphin is shown in left profile, its head slightly raised and tail curled upwards, positioned above a series of curved lines representing waves. The intaglio is mounted within a broad gold bezel, flanked on either side by granulated spheres and scroll-shaped elements extending from the concave hoop.For similar see: The British Museum, Museum number 1987,0212.188; Richter G.M.A., Catalogue of Engraved Gems. Greek, Etruscan, and Roman, Plate XLII, nos. 313, 314.Size: D:17.93mm / US: 7 3/4 / UK: P; Weight: 6.46gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
Ca. AD 100 - 300. A red jasper intaglio engraved with a Gryllos motif, combining a bearded mask in left profile, an equine protome rising from the top, and a ram’s head facing right. This composite figure is supported on rooster legs. The intaglio is set within an oval bezel of a gold ring with a slender hoop that broadens slightly towards the shoulders.For similar see: The British Museum, Museum number 1814,0704.1468; Richter G.M.A., Catalogue of Engraved Gems. Greek, Etruscan, and Roman, Plate LXIII, nos. 541, 545.Size: D:19.76mm / US: 10 / UK: T 1/2; Weight: 9.78gProvenance: Private London collection; previously Denier collection, France 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), APPLES & FLOWERS oil on board, signed, titled versoframed and under glassimage size 33cm x 21cm, overall size 54cm x 41cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.
* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), STUDY WITH FLOWERS & LEMONS oil on board, signed, titled versoframed and under glassimage size 26cm x 26cm, overall size 41cm x 41cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.
* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), WINTER TRAIL - GLENTROOL acrylic on board, signed, titled versoframed and under glassimage size 31cm x 25cm, overall size 50cm x 45cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.Condition of the picture is good overall, with no visible or known issues.
* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), MOORING OFF IONA oil on board, signed, titled versoframed and under glassimage size 31cm x 31cm, overall size 49cm x 49cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.
* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), JUNE MORNING BADACHRO acrylic on board, signed, titled versoframed and under glassimage size 26cm x 31cm, overall size 41cm x 46cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.Condition of the picture is good overall, with no visible or known issues.
9ct gold ladies cocktail watch x 2 and one costume watch. Includes: Accurist, 17mm x 20mm 9ct gold case, 21 jewels, manual wind, gold plated bracelet, gross weight excluding movement 7.1 grams; Rotary, 21 jewels, 15mm 9ct gold case, silvered dial, baton hour markers, 9ct gold articulated bracelet, gross weight 14.2 grams, in case; Art Deco style cocktail watch, marked 'Emka', manual wind, 17 jewels, 14mm x 32mm stainless steel and marcasite case, Roman numeral and baton hour markers. (3)
WILLIAM SMITH: A HISTORY OF GREECE, FROM THE EARLIEST OF TIMES TO THE ROMAN CONQUEST. WITH SUPPLEMENTARY CHAPTERS ON THE HISTORY OF LITERATURE AND ART, London, John Murray, 1885. New edition [but lacking any coloured maps]. Disbound, upper board bearing initials of H R BROWN [name also stamped and struck through on ffep].1
A collection of Neil Carter Ancient and Modern doll's house figures to include Nefertiti head,Degas's ballet dancer, Art Deco figurine, Roman torso, Donnatello's David, blue / red studio pot and a wheel thrown pilgrim bottle with black satin glaze, a copy of a Liao Dynasty example of the 11th Century by Andrea Fabrega, together with a Sue Austin "Labrador and puppy" and "Cream cat", Sarah Schiff "Bassett hound 2003" and "Persian Blue cat 2003" and a bowl of dog food, together with a collection of three miniature decorated Native American pottery including large bowl, dish and wedding vase, two Canadian jade miniatures including a bear with a fish and a turtle and a small blue Jasper Wedgwood vase
PLAS TEG LIBRARY: LARGE ASSORTMENT OF BOOKS, topics including Antiques, Art, Asian, Historical, Roman/Italian etc, within 6 boxesProvenance: The Cornelia Bayley Collection from the historic Welsh Jacobean house, Plas Teg, Flintshire. Further details on this important Jacobean house and its clearance Welsh House Clearance of a Generation — Rogers Jones Co
youthful life-sized head with heavy-rimmed almond-shaped eyes and dimples at the corners of the lips, the hair arranged in short thick curls, with smaller curls clustering around the nape of the neck and the ears; The chiselled hair seen on this head is similar to that found on monumental statues of around 350 B.C. attributed to Skopas and also the early work of Lysippos. The intense expression of the face is similar to a life size marble head of a youth in the Metropolitan Museum of Art, acc. no. 11.91.1, which is suggested as resembling the style of the works of the 4th Century sculptor Skopas. For another similar head to the above lot dating to the 4th Century B.C., see M. Comstock & C. Vermeule, Sculpture in Stone, the Greek, Roman and Etruscan Collections of the Museum of Fine Arts, Boston, Boston, 1976, p. 44, fig. 62. The Boston head has been compared to the head of the Lysippic Agelaos at Delphi, circa 335 B.C.Size: H:19.5cm, With Stand H:32cm. The actual size of this head is 19.5cm, from the lowest section at neck. The 14.5cm on card is measued from chin at front. Provenance: Collection of Gabriele und Wolfgang Leiner, and thence by descent. Acquired in 1969 in Alanya for 1000 Deutschmark. Gabriele and Wolfgang Leiner are known for their historical research and editorial work, particularly on topics related to Wrttemberg history and historical documents from the region. They are the editors of Gottfried Tobias Ritter s Stuttgarter Tagebuch 1791
A GROUP OF CLOCKS, SCALES AND MISCELLANEOUS, included a Hermle wall clock, featuring Roman numerals on a white and gilt face, with key and pendulum, appears to still wind, eight-day art deco style mantel clock, with silver dial with black numbers and hands, no key, Boots Chemist cast iron brass scales with four weights, Tanita TLD-652 electronic scales, (not tested), also included a box with some silver plated items, a Prestige shockproof pocket watch, a pair of vintage cuff links featuring a shell design on a pearlescent background, and a boxed Pierre Cardin pen and mechanical pencil set, (qty) (Condition Report: items have signs of age wear, clocks not in working order and have sd in places)
MONTBLANC Füllfederhalter "PATRON OF ART GAIUS MAECENAS". 2548/4810 LIMITED EDITION. Weltweit ausverkauft. Korpus von Säulen römischer Tempel inspiriert aus marmoriertem Lack (Material, das das Römische Reich symbolisiert.), Kappe aus 925er Sterlingsilber, 18K GG Feder. Kappe mit erstem Vers von Horaz' Ode an Maecenas, und auf der Feder ein Kranz und römische Ziffer. Box, Umkarton und Booklet anbei. Sehr guter Zustand. | MONTBLANC fountain pen ‘PATRON OF ART GAIUS MAECENAS’. 2548/4810 LIMITED EDITION. Sold out worldwide. Body inspired by columns of Roman temples made of marbled lacquer (material symbolising the Roman Empire), cap made of 925 sterling silver, 18K GG nib. Cap with first verse of Horace's Ode to Maecenas, and a wreath and Roman numeral on the nib. Box, outer box and booklet enclosed. Very good condition.
Novo-Hispanic school. Mexico. 17th century.“Portraits of Alexander the Great and El Çid Campeador”Pair of oil paintings o canvas.180 x 102 cm each.An unusual pair of portraits of historical personages, that possibly belonged to a Castilian military emigrant, who admired the artist and commissioned them for his villa, mansion or palace.With rigid brushstrokes, each of which is at the same time detailed and personal, this artist of the Mexican School has painted faces with more indigenous features than those the portrayed characters would have had. And their breastplates are more typical of the time of the portrait than of the real attire that both would have worn. In both large-format canvases they are designated with their names, Alexander the Great and Osid (abbreviation of the time for El Çid), they reflect the hieratic and imposing triumphalism of both warriors, who were generals and conquerors.The portraits correspond to the viceregal pictorial tradition developed in New Spain during the seventeenth century which is linked to the production of official portraits and heroic representations, mixing European influences with a local reinterpretation of the symbols of power, as well as the need to legitimize the power and story of the Hispanic monarchy in Latin America.A portrait of Hernán Cortés, by an anonymous artist, kept in the Museo de las Culturas de Oaxaca, depicts the conquistador in richly decorated armor, holding a command staff, in a format that links him to the royal portraits of the House of Austria. This portrait shares technical and stylistic similarities with the two portraits we present here, which are possibly based on a larger series of historical and mythological characters, and which show Alexander the Great and El Çid, an emblematic figure in the history of Spain.The three paintings - the one in the museum and these ones in the auction - have solemn composition, with the figures standing, dressed in armor that evokes power and authority. The light comes from a main focus that accentuates the metallic gleam of the armor and facial features, generating a dramatism characteristic of the Baroque and suggesting the influence of 17th century Spanish courtly portraiture, where power was represented and manifested through rich clothing and military ostentation. Alexander the Great is depicted in golden armor ornamented with lion heads on the greaves, a symbol of his strength and connection to divine power. El Çid, with his sword drawn and a defiant gesture, emphasizes the heroic representation with epic overtones. The density of the brushstrokes on the faces refers to European models such as the portraits of Philip II and Philip III, adapted to a Novohispanic context.The visual elements that can be appreciated in the paintings reinforce the heroic condition of the characters: the richly decorated armor indicates nobility and military valor, while the attributes such as weapons, banners and shields refer to their warlike exploits. Alexander the Great appears with iconography reflecting the Renaissance tradition, underlining his image as a strategist and conqueror of empires. Born in 356 B.C., he was a conqueror who formed one of the greatest empires in history. Born in Macedonia, when it was a kingdom in the north of Greece, son of King Philip II of Macedonia, he inherited his father's throne after his death and expanded the territory as far as northern India. He defeated the Persian Empire and conquered a vast territory stretching from his native Greece to northern India. He spread Greek culture, which he would fuse with the cultures of the subjugated regions, language, politics, art, literature and religion.El Çid Campeador represents the idealization of the Christian knight, a model of virtue and bravery. Rodrigo Díaz de Vivar (Vivar?, 1048 - Valencia?, 1099), known as El Çid Campeador, was a Castilian military leader who came to dominate the Levant of the Iberian Peninsula at the end of the 11th century at the head of his own army. He conquered Valencia and established an independent lordship in the city from June 18, 1094 until his death. His wife, Jimena Díaz, inherited and maintained it until 1102, when it passed back to Muslim rule. Hero of Castile and crusader for the Reconquest, throughout his life, he placed himself at the orders of different warlords, both Christian and Muslim, fighting as his own master and for his own benefit. His deeds and actions were sung and recounted in Spanish literature in the so-called “Cantar de mío Cid” (Song of El Çid). His name, el Campeador, means expert in pitched battles and his name, El Çid, from the dialectal Arabic (-sidi-), means lord.Representations of Greco-Roman and medieval heroes in viceregal painting also served to consolidate the Creole identity, exalting models of bravery and leadership in a context of growing vindication of the local elites.Reference bibliography:- Burke, Marcus. (2004). "Retratos de poder en la Nueva España". México, INAH.- Gruzinski, Serge. (1993). "El águila y la Sibila: México barroco". FCE.- Museo Nacional de Historia, Castillo de Chapultepec. Inventario de pintura virreinal.- Toussaint, Manuel. (1965). "Pintura colonial en México". UNAM.
Jose Avitavilli (Peru, late 16th century - early 17th century)“Salus Populi Romani”, also known as ‘Our Lady of the Snows’.Tempera on linen canvas.127 x 95 cm.This *Our Lady of the Snows* is a significant testament to the development of religious art in the Viceroyalty of Peru during the late 16th and early 17th centuries. Its Marian iconography, technique, and composition place it in a transitional phase between the Mannerism introduced by the Society of Jesus and the consolidation of Andean Baroque, influenced by European artistic traditions and local aesthetic particularities.A stylistic and technical analysis of the painting allows us to associate it with the production of the circle of Bernardo Bitti (1548–1610), an Italian Mannerist master whose work had a decisive impact on the development of Peruvian viceregal painting. More specifically, we attribute this piece to José Avitavilli, his disciple and one of the principal exponents of Cuzco Mannerism, based on stylistic and documentary comparisons.José Avitavilli, one of Bernardo Bitti’s closest disciples in the Viceroyalty of Peru, is mentioned in colonial documents as an active collaborator in the restoration and production of Mannerist works in Cuzco and Upper Peru. His work has been documented in the decoration of Jesuit churches and convents, and his style reflects clear influences from Bitti but with a distinctive refinement in the execution of faces and the treatment of color. Historical sources indicate that Avitavilli worked on Marian themes, particularly in Cuzco and Potosí, where he is known to have painted pictures of the Virgin Mary that combine Mannerist elements with a polished technique.The painting we present coincides with his other work in several key aspects, such as the delicate modeling of faces with Italian influences, the use of tempera instead of oil—a distinctive feature in some of his works—and the balance between gilded ornaments and a sober composition, typical of late Mannerism.One of the most significant aspects of this painting is its close iconographic relationship with the "Our Lady of Antigua", preserved in Lima Cathedral and considered to be one of the first Marian images introduced to Latin America. Both paintings share fundamental characteristics, such as the frontal arrangement of the Madonna and Child, the use of the rose as a symbol of purity, the treatment of the face with delicate oval features, and the presence of an ornamental background with geometric and gilded elements.However, "Our Lady of the Snows" introduces Mannerist variations characteristic of the late 16th century, such as the stylization of the figures and a greater softness in contrasts between light and dark. The influence of Bernardo Bitti is evident in the delicate modeling of the faces, with a subtle use of light and shadow to create volume—a technique he learned in Rome before moving to the Americas.The fact that the "Virgin of the Antigua" was one of the first Marian images in the viceroyalty reinforces the idea that *Our Lady of the Snows* represents a more advanced reinterpretation of this model, with technical refinement and an aesthetic more influenced by Mannerism. Perhaps the version by Bitti at the Museo Convento de los Descalzos in Peru is the earliest example of this evolution.All this evidence allows us to propose José Avitavilli as the artist who painted this artwork, consolidating him as a key figure in the transition between Italian Mannerism and early Andean Baroque.One of the most unusual aspects of this painting is the use of tempera on linen canvas, rather than the traditional oil on canvas. The tempera technique, more common in mural painting and European altarpieces, involves mixing pigments with binders such as egg or animal glue, allowing for a more delicate application and a matte finish, less glossy than oil. This method was widely used in European Renaissance art, but its application on canvas is much less frequent.Linen as a support is also a particular choice, as most viceregal production was painted on cotton fabric or wood. This material provides a finer texture and allows for more precise details in drawing, which is reflected in the exquisite execution of the faces of the Madonna and Child. The state of preservation suggests that the tempera technique has contributed to the stability of the painting, avoiding the typical cracking seen in older oil paintings.An elegant and stylized version of the famous *Salus Populi Romani* (Protector of the Roman People), better known as Our Lady of the Snows, a name given in the 19th century to the Byzantine icon of the Virgin with the Child in her arms, traditionally attributed to early Christians.This iconographic composition designates this type of painting as "Theotokos", meaning etymologically “Mother of God,” or more literally, “the one who gave birth to God.” The Virgin Mary is depicted with a light blue mantle edged in gold. In her right hand, she holds a circular flower, the mystical rose with which she seals her covenant with the Roman people. Though she does not wear a crown, the halo of sanctity speaks of her distinction and benevolence, a holy woman full of light, shown as the "Regina Caeli". With her left hand, she tenderly embraces her son, offering him to the world, while the Christ Child rests, appearing as the Pantocrator. With his right arm slightly raised, the Child makes a gesture of blessing and holds in his left hand the orb or globe of the world, which he blesses and supports, unlike the original icon where he carries the Book of Life, the Word.Both Mother and Child appear against a curtained background that emphasizes the importance of the image. They look directly at the viewer, making us participants in their presence, gaze, and transformation. The red curtain in the background reinforces the sacredness of the moment and creates a theatrical frame that recalls the liturgical theater of the Counter-Reformation. This type of composition follows European models of Italian and Flemish influence, adapted to the viceregal context. The use of gilding in the embroidery and trim of the Virgin’s mantle, though restrained compared to 18th-century paintings, anticipates the taste for brilliance and ornamentation that would characterize later Cuzco painting.Bibliographic References:-Mesa, José de, y Gisbert, Teresa. Holguín y la pintura altoperuana del Virreinato. La Paz: Librería Editorial Juventud, 1977. -Gisbert, Teresa, y Mesa, José de. La tradición bíblica en el arte virreinal. La Paz: Librería Editorial Juventud, 1982. -Querejazu, Pedro. “La ‘Madona del pajarito’ de Bernardo Bitti: tratamiento de conservación y restauración”. Conserva, n.º 5, 2001, pp. 85-94. -Coello de la Rosa, Alexandre, y Abejez, Luis J. “Bernardo Bitti y Diego Martínez: dos protagonistas de la pastoral de la imagen en el Virreinato del Perú”. Archivum Historicum Societatis Iesu, vol. 92, n.º 183, 2023, pp. 5-30. - Stratton-Pruitt, Suzanne L. *The Virgin, Saints, and Angels: South American Paintings 1600-1825 from the Thoma Collection*. New Haven: Yale University Press, 2006.- Museo Convento de los Descalzos, Lima, Perú.
AFTER THE ANTIQUE- A WHITE BISCUIT PORCELAIN MODEL OF THE BORGHESE CENTAUR BY GIOVANNI VOLPATO (1735-1803), LATE 18TH CENTURY Impressed stamp to one side of plinth G. Volpato Roma 28cm high, base 18cm wide There are two Roman forms of these large centaur sculptures. The first are the 'Furietti' pair in Laconian grey black marble which were discovered during excavations at Hadrian's Villa in Rome during the 1720s. That pair were purchased by Cardinal Furietti, whose descendants sold the centaurs to Pope Clement XIII after which they were added to the Capitoline Museum collection. This form, with the young Eros figure riding on the back of the older of the two centaurs, was excavated in Rome in the 17th century and entered into the Borghese collection. Together with 694 other statues it was acquired from Camillo Filippo Ludovico Borghese by Napoleon in 1807 and is now held in the Louvre Museum. Working in white biscuit, Volpato mimics the white marble of the original and a pair of centaurs by Volpato are held in the Museum of Arts and Crafts Hamburg (1878.564.a). For a comparable pair of centaurs by Volpato please see Christie's New York, Important European Furniture, Works of Art, Ceramics, 21 May 2003 lot 99 (sold for $15,535 inc. buyer's premium). Condition Report: With engrained surface dirt throughout- resulting in browner patches- and odd fluorescence under UV. Cupid right foot and right wing repaired, lacking fingers to centaur's hand and section of rein/strap formerly over hand Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AFTER THE ANTIQUE- A BRONZE MODEL OF THE PERSONIFICATION OF THE RIVER NILE IN THE MANNER OF RIGHETTI, CIRCA 1820-1850 15cm high, base 27cm wide, 13cm deep Provenance: Agnew & Co 2019 Masterpiece Fair This bronze depicting the River Nile is a reduced version of a colossal Roman marble group found in 1513 in Campo Marzio where it was probably part of the decoration of the Iseo Campense. The composition is an allegory of fecundity with a cornucopia placed prominently near the reclining Nile, and the sixteen small children who cavort on and about the figure of the river symbolize the sixteen cubits by which the river rose annually, fertilizing the surrounding areas. The complexity of the composition, due in large part to the incorporation of the children, meant that reproductions in bronze are scarce. A simplified version, without the children, and possibly executed by Carlier and Buviette is held in The Huntington Library, Art Museum, San Marino California. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Modern scuff to laurel wreath above his face- some edge wear and patina rubbing but generally in fairly good condition for age and likely handling Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Pope-Hennessy (John). Italian Renaissance & Baroque Sculpture, 3 volumes, London: Phaidon, 1996, numerous colour illustrations, original cloth in dust jackets & slipcase, covers very lightly rubbed to head & foot, folio, together with:Turner (Nicholas), Roman Baroque Drawings c.1620-c.1700, 2 volumes, 1st edition, London: British Museum press, 1999, previous owner stamp to front endpaper, with numerous monochrome illustrations, original cloth in dust jacket and slipcase, 8vo, plusLópez-Ray (José), Velázquez Painter of Painters, 2 volumes, 1st edition, London: Taschen, 1996, numerous colour & monochrome illustrations, original cloth in dust jackets, covers lightly rubbed to head and foot, folio, andBerenson (Bernard), Italian Pictures of the Renaissance, A List of the Principal Artists and their Works..., 2 volumes, 1st edition, London: Phaidon Press, 1963, 1480 illustrations, original cloth in slipcase, 8vo, and other modern Renaissance art reference and related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (3 shelves)
A MAHOGANY LONGCASE CLOCKINSCRIBED 'CLEAVD SALTER', HONITON, 18TH CENTURY AND LATERthe brass eight day movement with four tapering cylindrical pillars, with an anchor escapement and striking on a bell, the 11 inch brass dial with a silvered chapter ring with black Roman and Arabic numerals around a centre with a date aperture, engraved with a harbour scene and with a panel inscribed 'Cleavd Salter HONITON', the case with an arched hood and trunk door and a plinth base, with two weights and a pendulum213cm highProvenanceThe Howard Collection of Oak and Works of Art.
A striking Art Nouveau lidded jar by P. Ipsen Enke, featuring a sculptural form with organic curves and raised relief decoration. The piece is adorned in rich brown and ochre glazes, characteristic of the era's flowing, nature-inspired designs. The underside bears the impressed P. Ipsen Enke mark, model number 705, and Roman numerals XVIII (18).Issued: 20th centuryDimensions: 4.25"HCondition: Age related wear.
Set of vintage prints on different subjects and by different designers. 1. Artwork by Frank Walmsley depicting a marketplace or a high street with shoppers walking along the stalls, Richardson's sign on the building, and a clock tower in the distance. Horizontal. Very good condition, minor creasing, minor staining. Country of issue: UK, designer: Frank Walmsley, size (cm): 44x64, year of printing: 1970s; 2. Wealth Of The Roman World Gold and Silver AD 300-700 exhibition at the British Museum from 1 April to 1 October 1977 featuring an illustration of a man on a horse fighting lions with a sword set over a silver background. Very good condition, minor creasing. Country of issue: UK, designer: Unknown, size (cm): 38x26, year of printing: 1977; 3. Wealth Of The Roman World Gold and Silver AD 300-700 exhibition at the British Museum from 1 April to 1 October 1977 featuring an illustration of a woman on a golden background. Very good condition, minor creasing. Country of issue: UK, designer: Unknown, size (cm): 38x26, year of printing: 1977; 4. Market Scene In A Northern Town by an English artist Laurence Stephen Lowry RBA (1887-1976) depicting men, women and children with pets and prams in a busy marketplace, with smoking chimneys of the buildings in the distance. Copyright 1973 Salford Museum and Art Gallery. Published by Patrick Seale Prints Ltd London. Horizontal. Fair condition, creasing, tears, staining, browning. Country of issue: UK, designer: L S Lowry, size (cm): 61x76, year of printing: 1973; 5. Chinese warrior riding on a tiger's back, resembling a painting of the Daoist deity Zhao Gongming riding a tiger, seen holding a gold ingot in his hand, he is referred to his identity as the God of Wealth. Fair condition, folds, creasing, tears, staining. Country of issue: Unknown, designer: Unknown, size (cm): 99x66, year of printing: Unknown; 6. Heathland, a commission from Barbara Nicholson (1906-1978) featuring images of heath vegetation, with various plants including gorse, bilberry, petty whin, common bent, wavy hair-grass, bristle bent, cross-leaved heath, heather, bracken, horse-hair fungus, fairy cakes, wood-sage, dodder, tormentil, and others. Copyright British Museum (Natural History). In the 1970s the Museum commissioned Barbara Nicholson to paint a series of educational posters to represent UK ecology and biodiversity. Horizontal. Good condition, creasing, minor staining. Country of issue: UK, designer: Barbara Nicholson, size (cm): 60x78, year of printing: 1970s.
Original vintage advertising poster for the French museum Centre Georges Pompidou Atelier de Recherches Techniques Avancees / Advanced Technical Research Workshop. The poster features an artwork Bouquet fleche - Arrow bouquet. It is a hand colored plotter drawing created by Christian Cavadia and Jean-Pierre Lihou at the ARTA-Centre Georges Pompidou using Tetronix 4052 and ARTA Interactive software. Jean-Pierre Hebert (1939 – March 28, 2021) was an American artist of French origin. He specialized in algorithmic art, drawings, and mixed media. He co-founded the Algorists in 1995 with Roman Verostko. From 2003 until his death, he held an artist-in-residence position at the Kavli Institute for Theoretical Physics (KITP) at the University of California, Santa Barbara. Very good condition, small tears, minor staining Country of issue: France, designer: Christian Cavadia, Jean-Pierre Lihou, size (cm): 97x69, year of printing: 1979.
A collection of loose Royal Mail First Day Cover and Stamp sets mainly late 20th / early 21st century examples to include Entertainer's Tale, Punch & Judy, Farmers' Tale, Total Eclipse, Sound and Vision, The Stamp Show Exhibition Souvenir, The Opening of Tallents House Edinburgh, Classic British Buses Double-Deckers, People and Place, Life and Earth, Soldiers Tale, Weather and Submarines etc., together with two albums of FDC's to include Art in the 20th Century, Roman Britain, Inland Waterways, The Story of Beatrix Potter, Sherlock Holmes and The Age of Steam etc.
Crusader - Gentleman's Art Deco 9ct gold case wristwatch, the rectangular white dial with Roman hour markers, seconds subsidiary, and blued steel hands, Birmingham, 1934, unsigned crown, hinged Dennison case back, signed 15 rubies manual wind movement, 22mm x 32mm (ex.crown), on a later strap, 14.1g gross approx. (ex.movement), with Carmichael Ltd., Hull, retailers box
Salvador Dali (1904-1989)"Return of Ulysses", 1977From the portfolio "Homage to Homer"Lithograph on paperSigned and numbered 170/350 Published by Levine & Levine, New York(American edition of 350 plus AP, international edition of E350 plus AP, edition for exclusive distribution by the artist 125 in Roman numerals)75,8x56,5 cm (papel/sheet)Certified on the reverse by Bruce Hochman, International Fine Art Appraisers.
Ptolemaic - Roman Period, Ca. 100 BC - AD 100. A collection of two strings of glass beads composed of barrel-shaped, biconical, and tubular forms in yellow and green tones, with surfaces featuring striated or marbled designs.For similar see: The Louvre Museum, Main number: AF 13413.Size: 440-460mm x 5-8mm; Weight: 45gProvenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ptolemaic - Roman Period, Ca. 100 BC - AD 100. A mosaic glass inlay in the form of a stylised snake head, composed of opaque yellow with contrasting red and dark glass details set within a cobalt blue matrix. The head features a circular red eye outlined in black, positioned above a series of black vertical lines resembling fangs. A red, curved element below forms an open mouth. Black diagonal markings extend along the upper surface towards the tapering end, interspersed with smaller black rectangles along the lower edge. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: Christie's, Live Auction 7758, The Groppi Collection, 26 April 2012, Lot 10.Size: 37mm x 18mm; Weight: 2gProvenance: Prince collection, 1990s-2014; Ex. Christie's, 26 April 2012, lot 7, Sale 7758, The Groppi Collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 300.A Roman cast bronze handle depicting the face of Apollo on its lower portion. A figure of a crane is depicted in profile on the middle part of the handle. The handle arches in a gentle curve to a duel terminal on the upper end, which is decorated with wings on each side. A thick loop projects from the top of the handle. For similar see: Christie's, The Royal House of Savoy (Live Auction 17486), Lot 76. Size: 105mm x 60mm; Weight: 105gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter..
Ptolemaic - Roman Period, Ca. 100 BC - AD 100. A rectangular mosaic glass inlay depicting a waterfowl, possibly a snipe, against a translucent grey-blue matrix. The bird is shown in profile with its head turned backward, preening its raised left wing. The long, brown beak extends forward, while the head and neck are rendered in red and yellow. The body features layered imbricated feathers transitioning from red and yellow to deep blue and white, with the tail in green and yellow. The wing is detailed with red, dark brown, and green flight feathers, and the underbelly is in yellow. The legs and webbed feet, positioned on a thin green baseline, are striped in red. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.Exhibited: Antikensmuseum Basel und Sammlung Ludwig und Museum August Kestner Hannover, Köstlichkeiten aus Kairo!, 2008, no. 28b.Size: 24mm x 20mm; Weight: 5gProvenance: Prince collection, 1990s-2014; Ex. Christie's, 26 April 2012, lot 12, Sale 7758, The Groppi Collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Roman or earlier, Ca. AD 100 -300. A solid gold bracelet composed of a thick, rounded core encircled by tightly coiled gold wire, creating a spiralled surface.Size: 70mm x 62mm; Weight: 160gProvenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 500 - 300 BC. A collection of three bronze vessels, each with a carinated body that transitions into a corseted neck culminating in a slightly flared rim. The angular profile is defined by a pronounced ridge encircling the midsection, separating the upper and lower sections.For similar see: Richter G. M. A., Greek, Etruscan and Roman Bronzes, Metropolitan Museum of Arts, 1915, Cat. 606, 607, 608.Size: 90-100mm x 70-80mm; Weight: 365gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1st - 2nd century AD.A translucent green glass urn with a rounded, globular body tapering towards a narrow base. Vertical ribs extend from the shoulder to the lower section. The wide cylindrical neck is accentuated by a thick, applied rim with a slight overhang.For similar see: The Metropolitan Museum of Art, Object Number: 81.10.15; Stern E.M., Roman, Byzantine and Early Medieval Glass, the Ernesto Wolf Collection, 2001, no. 86, p.195.Size: 155mm x 140mm; Weight: 325gProvenance: Prince collection, 1990s-2014; Ex. Jack-Philippe Ruellan. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 500 - 300 BC. A collection of three bronze vessels, each with a rounded body and a flanged lip. The profiles vary, with the one on the left featuring a more pronounced curvature, the middle one with a subtly defined shoulder, and the one on the right with a lower, more open form.For similar see: Richter G. M. A., Greek, Etruscan and Roman Bronzes, Metropolitan Museum of Arts, 1915, Cat. 606, 607, 608. Studi Etruschi XVIII, Heyes, The Etruscan and Italic Collection of R. O. M., Tav. XVI n. 1 e 2.Size: 130-140mm x 40-70mm; Weight: 445gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
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