Albin Camillo Müller (German, 1871-1941), a cast bronze Secessionist mantel clock, c.1905-10, with a brass and enamelled dial with Roman numerals, striking the half hours on a gong, the case of arched form with cast panels, the supports terminating on 'claws' on the chamfered plinth, the pendulum enamelled with a bird, the underside with a cast medallion and inscribed in the cast '1415', 26.5cm wide 18cm deep55.5cm highFor a similar clock, see the Museum Künstlerkolonie in Darmstadt. Albin Camillo Müller was a German architect and designer active in Darmstadt. In 1906, he was appointed to the Darmstadt Artists' Colony, where he became the lead architect after Joseph Maria Olbrich's death. In 1907, he was appointed a professor, and from 1907 to 1911, he taught Applied Arts. In 1918, along with Kasimir Edschmid, Albin Müller was appointed the President of the newly created Art Council in Darmstadt.Condition ReportWear, rubbing and scuffing to the case. Screw heads worn.
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Italian sculptural group titled The Wrestlers. Powerful representation inspired by the ancient Greco Roman Lysippus, the renowned 4th century BCE sculptor of classical antiquity. Rendered with extraordinary anatomical realism and dynamic tension, the composition depicts two male athletes locked in an intense moment of physical struggle, showcasing a masterful study of musculature, motion, and human form. The original marble group is traditionally thought to reflect the stylistic influence of Lysippus, official sculptor to Alexander the Great and a transformative figure in Greek art who broke from the static proportions of Polykleitos, a well known sculptor before Lysippos, in favor of more slender, naturalistic forms. Lysippus introduced a new canon of bodily proportions and expressive movement, pioneering a dynamic aesthetic that profoundly influenced later Hellenistic and Roman sculpture. This contemporary cast, mounted on a textured naturalistic base and finished in a rich golden bronze patina. Weight: 64lbs. Dimensions: 20"W x 17.5"HCondition: Age related wear.
This vivid 6.5-inch tall Art Deco-style glass vase from Czechoslovakia showcases exceptional craftsmanship and eye-catching design. Handblown in a rich orange hue, the piece features an elegant classical female figure and geometric banding executed in applied silver overlay - a sophisticated and labor-intensive decorative technique. The overlay wraps around the body with precise detail, including a border of stylized arches and a Greco-Roman figure in flowing robes. Signed "Czecho Slovakia" on the base, the vase reflects the artistic traditions of early to mid-20th century Central European glassmaking. The contrast between the saturated orange ground and cool silver highlights creates a dynamic and visually appealing silhouette. Minor wear to the silver overlay is noted, consistent with age.Issued: 20th centuryDimensions: 6.5"HCountry of Origin: CzechoslovakiaCondition: Age related wear.
ASTERIX CONQUERS AMERICA (1994) - Asterix, Obelix and Multi-Character Original Production Cel and Pan Original Layout Drawing Setup - A richly detailed pan layout setup from the animated feature Asterix Conquers America (aka Asterix In America), expertly composed using seven original hand-painted production cels over a large-format pan background drawing.Asterix Conquers America was the first Asterix film produced entirely outside France and marked an ambitious expansion of the franchise. With its distinctive style, international tone, and strong visual storytelling, it brought the iconic Gauls to a new generation.While this specific arrangement does not appear "as is" in the film, each cel and layout element was created for the production and has been thoughtfully assembled by the studio to showcase the visual dynamism and character design that define the feature. The studio officially released this piece as part of the Asterix Art Program, curated to preserve the series' legacy and offer collectors a rare look into the production process.Set in a Native American village deep in the New World, the artwork brings together an ensemble of key characters: the defiant Asterix stands mid-conversation alongside the wise druid Getafix (Panoramix), recently kidnapped and flung across the ocean by Roman forces. To their side, the young tribal girl, while a wary villager and medicine man, and the elaborately dressed village chief observe from either end, the ever-faithful Obelix acting as both mediator and muscle in the scene.The pencil layout background stretches across, laying out the ceremonial grounds and tipi village in a sweeping perspective. These layouts were integral to shot planning, camera movement, and cel positioning. The scale, clarity, and theatrical composition make this setup an ideal display piece, a scene that captures the drama and charm of the film's aesthetic. Multiple production reference numbers are handwritten along the bottom edge of the cels, and several annotations are written on the drawing. The official studio stamp is present on the bottom right corner of the layout, authenticating its origin. A special offering for fans of the franchise and for collectors who value the immediacy, scale, and storytelling power of original animation art. Dimensions: 31 cm x 109 cm (12.25" x 43")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω
‡ ATTRIBUTED TO DOMENICO ZAMPIERI, KNOWN AS DOMENICHINO (ITALIAN 1581-1641)LANDSCAPE WITH A HERMIT Oil on canvas 41 x 54cm (16 x 21¼ in.) Provenance: Everhard Jabach, Paris, no. 582, by 1696 Manor House Antiques, The Square, Stow-on-the-Wold, Gloucestershire, March 1973 There acquired by Richard L. FeigenLiterature: Vicomte de Grouchy, Everhard Jabach, collectionneur parisien (1965) in Memories de la Societe de l'Histoire de Paris et de l'lle de France. XXI, 1984, p.278, no. 582 G. Gent, Lost Domenichino is Found and Bought for $392, New York Times, 19 June 1973, p.32 L. Salerno, Pittori di paesaggio del seicento a Roma, vol. I, Rome, 1976, I. pp. 81,120, cat. no. 19.3 R. E. Spear, Domenichino, New Haven, 1982, vol. I, p.317 (as a copy after Pietro Paolo Bonzi) L. Salerno, Review of Domenichino by Richard Spear, in 'Storia dell arte', L. 1984, p.88 A. Brejon de Lavergnee, L'inventaire Le Brun de 1683; La collection des tableaux de Louis XIV, Paris, 1987, p. 297 (as a copy after Domenichino) C. Whitfield, Les paysage du Domenichio et de Viola in Monuments et memories, LXIX, 1988, p.106, no. 92 (as Grimaldi?) R. E. Spear, Domenichino addenda, in Burlington Magazine CXXXI, 1989, p.11. no.44 (as a copy after Pietro Paolo Bonzi) S. Loire, Ecole italianne XV/le siecle. I. Bologne. Musee du Louvre. Department des Peintures, Paris, 1996. pp.214. 216 (as a copy after Domenichino)Exhibited: Amherst, Massachusetts, Mead Art Museum, Major Themes in Roman Baroque Art from Regional Collections, 1974, no.83 New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection, 28 May - 12 September 2010, no. 45 (as Domenichino)The present work is known in three versions; the lot offered here, a reduced painting in the Louvre (30 x 37cm), and a third larger example (47 x 59cm) in the Galleria Doria-Pamphilj, Rome. The latter example is now generally attributed to Domenichino's follower Pietro Paolo Bonzi. Whilst the present work has been put forward as the prime version by Luigi Salerno and others (see literature), Stephane Loire and Dennis Mahon both argued that the Louvre version is the original. Condition Report: Canvas appears to have a wax relining and presents a subtle craquelure. In addition, there are a few slight superficial scratches in the varnish in the tree in the upper right corner and the lower left corner UV light reveals and evenly applied varnish a few retouches in the lower section of the waterfall as well as meticulous restoration in the sky with two patches of approx 4cm in width. In addition, there are a few small meticulous restorations in the foliage of the tree to the right. Finally, there is extensive restoration to the right border such restoration if of crosses the whole right border and is of about 4cm in width.Condition Report Disclaimer
Philipp Hass & Son-German 8-day Art deco mahogany mantle clock, in a waisted case with inlay to the edge and front and a shaped top, enamel dial with Roman numerals and spade hands within a glazed spun brass bezel, two train rack striking movement sounding the hours on a gong, with pendulum.Dimensions: Height: 32cm Length/Width: 25cm Depth/Diameter: 13cm
Antique Roman wine amphora type 'Gauloise’ 4 or ‘Pélichet 47', manufactured in Forlimpopoli, 2nd century ADAntieke Romeinse wijnamphora type 'gauloise 4’ of ‘Pélichet 47', gefabriceerd in Forlimpopoli, 2e eeuw na ChristusH 71 cm provenance: private collection, auction house De Eland, Amsterdam, February 1993with certificate J. Vrancken, Heule 10.09.1998, expertise Greek and Roman antiquitieswith certificate Brussels Art Laboratory, Brussels 1st January 1993provenance: privé collectie, veilinghuis De Eland, Amsterdam, februari 1993met certificaat J. Vrancken, Heule 10.09.1998, expertise Griekse en romeinse oudhedenmet certificaat Brussels Art Laboratory, Bruxelles 1e janvier 1993
TWO BURMESE SILVER REPOUSSÉ BOXES WITH DRAGON AND FIGURAL MOTIFS Burma (Myanmar), South East Asia, late 19th - 20th centuryComprising a rectangular Burmese colonial silver box, worked in high relief using repoussé and chased techniques, the lid and sides decorated with lively dragon motifs, scrolling foliage, and floral borders, the central medallion featuring a leaping deer, dragons and scrolling floral designs continuing around the body, all classic features of collectible Burmese silver, the underside engraved in both Burmese and Roman script “K.K. Marque déposée” together with further Burmese characters, a mark commonly seen on presentation boxes and collectible silver from Burma (Myanmar), the interior decorated with similar dragon motifs, this form often described as a betel box or trinket box and highly prized by collectors of Asian silver and colonial silverware; together with an octagonal silver box, the lid cast in high relief with a figural scene, possibly from a local lore or Buddhist Jataka tales, the sides with panels of seated deities in arched reserves, and the base with repoussé mythological animals, reflecting the strong influence of Hindu and Buddhist iconography in Burmese silverwork of the colonial and post-colonial period, both boxes entirely hand-crafted using traditional chasing and repoussé techniques on high purity silver.The rectangular box 12cm x 7cm x 3.5cm, approx. 219.2gr.The octagonal box 8.5cm x 6.5cm x 7cm, approx. 187.9gr. Silver boxes of this type, marked “K.K. Marque déposée,” were produced for both local and export markets throughout the 20th century, combining local craftsmanship, colonial silver traditions, and the appeal of decorative Asian silver, they were often used for betel, jewellery, or as presentation boxes and are much sought after at auction by collectors of Burmese silver, colonial silver, Hindu art, and Asian export silver. Qty: 2
BARTOLI (PIETRO SANTI) GLI ANTICHI SEPOLCRI, OVERO MAUSOLEI ROMANI ET ETRUSCHI: ROME 1768. Gli Antichi Sepolcri, ovvero Mausolei Romani, ed Etruschi Rome: Calcografia della Reverenda Camera Apostolica, 1768 Folio. Title page with engraved vignette, printed in Roman type. A celebrated and richly illustrated compendium of ancient Roman and Etruscan tombs, this volume by Pietro Santi Bartoli (1635–1700) is renowned for its detailed engravings and scholarly commentary. Bartoli, an esteemed Italian engraver and antiquarian, meticulously documented sepulchral monuments found in Rome and other notable locations, providing invaluable insight into funerary art and architecture of antiquity. Published under papal privilege and with ecclesiastical approval (“Con Licenza de’ Superiori”), this edition was printed by the official press of the Papal States. 113 engraved plates. References: Cicognara 3786; Brunet I, 674. A fine and important example of 18th-century antiquarian scholarship and printmaking, rarely found complete. CR* Title page with minor foxing and light toning, as expected for a work of this age. Engraved vignette depicting classical motifs remains crisp and well-preserved. Internally good overall, binding worn.
A 9ct Gold Cased Art Deco Style Ladies Wristwatch, the unsigned white dial with black Arabic numerals and red Arabic hourly marker, within plain circular case, movement stamped "Swiss Made", caseback numbered "10020", on an expanding bracelet stamped "9CT", in a vintage H.Samuel watch box; Together With Another 9ct Gold Cased Art Deo Style Ladies Wristwatch, the unsigned textured dial with black Roman numerals, within shaped plain case, movement stamped "Swiss Made 15 Jewels", caseback stamped "D&R" and numbered "70825", on an expanding bracelet stamped "9CT", in a vintage Barnsley British Cooperative Society watch box. (2)
18th Century School “The Massacre of the Innocents”, (copy of original by Nicolas Poussin), O.O.C., c.1850, approx. 64cms x 76cms (25” x 30”). (1) Dating probably from the mid-nineteenth century, this copy of Nicholas Poussin’s The Massacre of the Innocents is an almost exact replica of the original, conveying all of the barbarism and tragedy of the scene, taken from the Gospel of St. Matthew. The original was commissioned in the 1620’s by the Roman banker Vincenzo Giustiniani. A leading patron of the arts, Giustiniani had assembled one of the finest collections in Italy and was also a patron of Caravaggio. The commission was a prestigious one, particularly for such a young artist. Poussin rose to the challenge, seeking to outdo Guido Reni’s famous painting of the same subject, painted in 1611 for the Basilica San Domenico in Bologna. He devised a dramatic composition resembling a theatre stage, with the main protagonists in the foreground, and subsidiary characters in the background. The architectural setting of a Greek temple adds to the intensity of the work. The action is concentrated on three main figures, the soldier who places his foot on the infant, the distraught mother, and the dying child. As well as Guido Reni, the influence of Caravaggio is evident, particularly in the use of stark lighting to emphasis the tragedy of the scene. The Massacre of the Innocents was displayed at the Palazzo Giustiniani and quickly became one of the most celebrated works of art in Rome. Over the centuries, it has continued to inspire artists, notably Picasso, who in the 1920’s and 30’s based several paintings on Poussin’s work, while Francis Bacon described the mother’s cry of anguish as ‘one of the best ever painted’. The original is now in the Musée Condé de Chantilly, in France. Dr. Peter Murray 2025
A collection of books comprising "Illlustrations of the Remains of Roman Art in Cirencester - The Site of Ancient Corinium" by PROFESSOR BUCKMAN and C H NEWMARSH, 2nd edition, published London by George Bell and Bailey & Jones Cirencester 1851, "Kelly's Directory of Gloucestershire 1902", "Kelly's Directory of Wiltshire 1903", "Holy Bible", "The Prince of Wales Book" and LEWIS CARROLL "Alice's Adventures in Wonderland" and "Through the Looking Glass", published 1956 (6)
Donovan (Edward). Natural History of the Insects of India, containing upwards of two hundred and twenty figures and descriptions, by E. Donovan, new edition... by J. O. Westwood, London: Henry G. Bohn, 1842, printed title and 29 (of 58) fine full-page hand-colouored engraved plates only, all loose and unbound, some spotting to titlepage, sheet size 30 x 23.5 cmQTY: (1)NOTE:A selection of plates from the first illustrated publication dealing with the entomology of India. Present here are 1, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 26, 28, 30, 31, 34, 36, 42, 43, 44, 45, 46, 47, 48, 49, 50, 52, 53, and 54, all numbered in roman numerals. 'The paint is laid on so thickly that it is frequently impossible to see the engraved lines underneath. The already rich colouring is heightened by the added addition of burnished highlights, albumen over glazes and metallic paints to give an overall effect reminiscent of the work of a miniaturist. Surprisingly, these techniques were often combined to produce a very pleasing and delicate effect: the multiple ruses of the colourist triumph over the draftsman's numerous failures. Donovan overreached himself and died penniless.' (Dance, Art of Natural History, page 87).
Frederique Constant. A lady’s stainless steel oval bracelet watch, Ref. FC-200, Art Deco, circa 2024. Movement: quartz. Dial: mother-of-pearl, Roman numerals, engine-turned centre. Case: stainless steel, back secured by four screw, sapphire-set crown, no. 4066230, T-bar lugs, stainless steel brick link bracelet. Signed: case, dial, movement and bracelet. Dimensions: length 30mm, width 25mm, bracelet circumference approximately 170mm. Accessories: spare links, tag, presentation case. £150-£200 --- Condition Report Movement: running at the time of cataloguing. Dial: in good condition. Case: very light scuffs to the bracelet but overall in good condition. Gross weight: 58.4gms. Please note that the above condition report is a statement of opinion only and may not specify all mechanical replacements or imperfections. Watches are opened to examine the movements, no warranties are made that the watches are water-resistant. The watch has not been tested for the accuracy of its time keeping and would benefit from a service at the buyer’s expense.
MONET CLAUDE: (1840-1926) French Impressionist painter. An exceptional A.L.S., Claude Monet, one page, 8vo, Giverny par Vernon, Eure, n.d. (´Mardi soir´; 10th December 1895), to Gustave Geffroy, in French. Monet commences his letter by enquiring ´Et puis mon cher Geffroy, qu´est-ce que cette histoire de Claude Lantier qui n´est pas plus Cézanne que Manet bien que Zola ait eu la pensée de peindre ce dernier et d´en faire un raté´ (Translation: ´And then, my dear Geffroy, what is this story about Claude Lantier, who is no more Cézanne than Manet, even though Zola had the idea of painting the latter and making him a failure?´) and continues to remark ´Plus j´y pense plus je vois là pour vous matière à un superbe article rétablissant en fait et rendant justice au pur artiste qu´est Cezanne. Mais je suis certain que vous avez pensé comme moi´ (Translation: ´The more I think about it, the more I see material here for a superb article restoring the facts and doing justice to the pure artist that Cézanne was. But I'm sure you've thought the same as me´). With blank integral leaf. Accompanied by the original envelope hand addressed by Monet. A letter of wonderful content in praise and defence of Paul Cézanne. VGGustave Geffroy (1885-1926) French journalist, art critic and historian, a friend and champion of Monet.Paul Cézanne (1839-1906) French Post-Impressionist painter.The French novelist Emile Zola (1840-1902) had been a childhood friend of Cézanne, encouraging the artist in the pursuit of his chosen career. Cézanne was best man at Zola´s wedding in Paris in May 1870, however by the end of the decade the two men were growing more distant and the unassuming Cézanne, aware of his inadequacies, began to doubt himself. In 1886 Zola, who had become to regard his friend as a failure, published his roman à clef. L´Oeuvre, the fourteenth novel of hus Rougon-Macquart series. The protagonist of the work is Claude Lantier, a revolutionary artist whose work is misunderstood by an art-going public hidebound by traditional subjects, techniques and representations. Lantier does not achieve the realisation of his goals and commits suicide. The book is often blamed for ending the friendship between Cézanne and Zola. The story of a groundbreaking artist unable to live up to his potential must have seemed intensely personal to Cézanne; no correspondence exists between the two after a letter in which Cézanne thanks Zola for sending him the novel.
APOLLINAIRE GUILLAUME: (1880-1918) French Poet, Playwright, Novelist and art Critic. Autograph Manuscript, unsigned, one page, 8vo, n.p. [Paris], n.d. [1914], in French. The fragment of manuscript, features over twenty lines of text in Apollinaire's hand, being notes taken from the introduction he wrote himself in 1914 for the reedition of Fanny Hill: or the Memoirs of a Woman of Pleasure, the famous erotic novel by John Cleland. The manuscript text bears multiple corrections, amendments and crossed words, stating in part `5º Le jeu de colin-Maillard - 6º Le jeu des lèvres de grenouilles - 7º Une hôtesse de Wapping, avec des matelots qui débarquent - 8º Le jeu des épingles, et le mari grondé par sa femme, qui lui enfonce des épingles dans le menton... les peintures, les allées, les statues, les cyprès, les ifs, les cèdres et les tupiliers... La prairie défendue par un haha pour empêcher qu´on n´y entre...´ (Translation: "5th blind man's buff - 6th the frogs' lips game - 7th a wapping stewardess, with sailors landing - 8th the pin game, and the husband scolded by his wife, who sticks pins in his chin... the paintings, the paths, the Statues, the cypresses, the yews, the cedars and the tupilus trees... the meadow protected by a Haha to prevent one from entering...") Further and before concluding, Apollinaire refers to the prices of wine and champagne in the mentioned gardens, saying `le prix des denrées qu´on peut avoir dans ces jardins. une bouteille de Bourgogne - 7.6 shellings, une de champagne - 10,6 shellings, de Frontignac - 7 shellings´ (Translation: "the price of the goods that can be found in these gardens. A bottle of Burgundy - 7.6 shillings, one of champagne - 10.6 shillings, one of Frontignac - 7 shillings") Overall age wear, with repairs to the verso, and with upper edge with few small tears and very small areas of paper loss. F to GJohn Cleland (1709-1789) English Novelist best known for his fictional erotic novel Fanny Hill: or the Memoirs of a Woman of Pleasure (1748), whose eroticism led to his arrest.Apollinaire wrote to the conclusion of his introduction to the reedition of the novel : "Le seul ouvrage qui garde de l´oubli le nom de John Cleland, c´est le roman de Fanny Hill, la soeur anglaise de Manon Lescaut, mais moins malheureuse, et le livre où elle parait la saveur voluptueuse des récits que faisait Chéhérazade.´ (Translation: "The only work that preserves the name of John Cleland from oblivion is the novel of Fanny Hill, the English sister of Manon Lescaut, but less unhappy, and the book in which she adorns the voluptuous flavour of the stories that Cheherazade told")
A Roman marble portrait head of the Emperor Titus, Flavian period, c.80 CE, the broad face with fleshy cheeks and chin, his hair in tight curls over a deeply furrowed brow, the head 21cm wide 24cm deep 33cm high, on a later limestone bust, bearing painted inventory number 'F597', 45cm high overall Provenance: Collection of the Prince of Liechtenstein, Franz Joseph II (1906-1989); Sotheby's, London, 'Antiquities', 17 May 1983 lot 196; with Royal-Athena Galleries, Beverly Hills, California; the collection of Daniel Alan Radler; Sotheby's, New York, 'Master Paintings and Sculpture Part II', 27 January 2023, lot 558; acquired from the above sale by the current owner. Literature: K Fittschen and P Zanker, 'Katalog der römischen Porträts in den Capitolinischen Museen und den anderen kommunalen Sammlungen der Stadt Rom', pp.33-34, nos. 28-30; G Daltrop, U Hausmann, M Wegner, 'Das römische Herrscherbild ii, I: die Flavier: Vespasian, Titus, Domitian, Nerva, Julia Titi, Domitilla, Domitia'. See also: The Capitoline Museum, Rome, Hall of the Emperors 19, no. 433, Municipal Antiquarium store nos. 7673 and 3361; the British Museum no. 1909,0610.1; Naples Archaeological Museum no. 6059; the Borghese Gallery, no. CLXXI. For pieces bearing similar inventory numbers, see Christie's, Amsterdam, 'LIECHTENSTEIN: Property from the Collection of the Princely House of Liechtenstein', 1 April 2008. Before his brief reign from 79-81 CE, Titus earned distinction as a military leader, notably serving alongside his father, the Emperor Vespasian, during the First Jewish-Roman War in Judea. The campaign was briefly interrupted by Emperor Nero’s death in 68 CE, which triggered Vespasian’s pursuit of imperial authority during the Year of the Four Emperors. Once Vespasian was proclaimed emperor on 1 July 69 CE, Titus was tasked with quelling the Jewish uprising. In 70 CE, he led the siege and eventual capture of Jerusalem, destroying the city and the Second Temple. In recognition of this victory, Titus was honoured with a triumph and his success was later commemorated by the building of the Arch of Titus, which still remains standing today. This head of Titus, now on a modern bust, relates to three examples examined by Klaus Fittschen referencing scholarship, including that of Max Wegner. All youthful in appearance, each with heads turned slightly to the left, with fleshy cheeks and tight curly hair, they appear to relate to the 'Herculaneum Titus' (type A), which is understood to have been executed upon his return to Italy in 71 CE, following his victory in Judea. The drilling of the hair to the front of the head, the style and workmanship of which is consistent with that of other Flavian portraiture, finds comparisons in all of the examples brought together by Fittschen, as well as a portrait in the Borghese Gallery in Rome, which Jessica Clementi suggests may have been executed just before the beginning of Titus' reign, when he was around 40 years old. The Princely Collections of Liechtenstein, based in Vaduz and Vienna, are among the most prestigious private art collections in the world. Franz Joseph II (1906-1989), to whom this bust once belonged, was pivotal in preserving and repositioning the Liechtenstein Princely Collection during a period of immense political and cultural upheaval. He became the first reigning prince to take up residence in Vaduz in 1938, a symbolic and strategic move that helped solidify the principality’s independence during the rise of National Socialism. One of his most consequential actions was the relocation of the core of the Princely Collection from Vienna to Vaduz during the final months of the Second World War. This safeguarded the collection from potential wartime destruction or seizure and ensured the survival of one of Europe’s most important private art collections. In a letter of March 1974, penned by Dr Norbert Heger of the University of Salzburg to Dr Reinhold Baumstark, then director of the Princely Collections, he recalls a conversation several years prior with a Dr G Willhelm, the previous Director: 'Director Dr. Wilhelm showed me one day in Vienna four Roman heads of unknown provenance, of which three (a portrait of Titus Inv. No. F597, an [unidentified] head Inv. No. F595 and an over-life-sized bust in the style of Antinous) are not in question...' While the date of its accession is unknown, this places the bust of Titus in the collection c.1970. Additionally, a 2008 sale of 396 works from the Princely House of Liechtenstein at Christie's, Amsterdam, included several pieces with inventory numbers from F555-F674, which are recorded as having been in Vienna between the 1920s and the 1940s, before being moved to Schloss Vaduz in 1944. It is, therefore, reasonable to imagine that this bust was among their number during that period. Condition ReportThe head without bust measures 22cm wide x 23cm deep x 32cm high. The bust measures 33cm wide x 27cm deep. The bust is modern. The head and bust, up until recently, were united and have undergone recent professional restoration to be separated. Re-carving and re-finishing of the bottom of the neck to facilitate the later mounting, including a large drill hole for the metal dowel. A small amount of possible re-carving/ tidying up to the front of the hair where it meets the forehead, however, the clear line between hair and forehead has a parallel in the line beneath the chin, indicating that these may be guidelines by the original sculptor. A few small chips to the extremities of the head, including the tip of the nose, curls of the hair and one of the ears. A small recent break and glue repair to the back of the neck. Some more recent scratches, lines and small, thin superficial cut marks in places. General dirt, weathering and patina. Evidence of some historic staining, residue from previous restoration, cleaning and conservation, however this does not appear intrusive. Overall, the piece appears structurally stable.
A group of Roman and later metal and faience pieces, to include a bronze votive foot, c.100-200 CE, 7cm long 3cm wide 4cm high, a Bronze Age axe head, an anthemion finial, spoons, pendants, weights, an oil lamp and a small lobed vessel (qty.) Provenance: From the collection of David King (1940-2024), Hoddesdon, Hertfordshire; all acquired on the UK art market during the late 20th century.
A large collection of Roman terra sigillata pottery vessels, comprising variously sized dishes and bottles, some with moulded and incised decoration, largest bottle 15cm diameter19cm high (36)Provenance: From the collection of David King (1940-2024), Hoddesdon, Hertfordshire; all acquired on the UK art market during the late 20th century.
A group of Roman terracotta oil lamps, comprising variously sized examples, some with erotic decoration, largest 9.5cm wide12.5cm deep5cm high (19)Provenance: From the collection of David King (1940-2024), Hoddesdon, Hertfordshire; all acquired on the UK art market during the late 20th century.
Mixed militaria to include: WW1 British Victory Medal to "50101 Pte T H Kitchen, Notts & Derbyshire Regt" complete with original ribbon and a brooch pinned Notts & Derby's Cap badge. Along with an Edward VII Coronation medallion and a Church Missionary Society Centenary Medallion: Pair of Puttees: Relic WW1 German M16 Helmet: WW2 French Helmet converted to film prop Roman Gladiator helmet: WW1 Postcards: Boer War paperwork: WW1 unopened IWM Centenary DVD & book: Leather belt and leather pouch: WW2 RAF Trench Art Whitley Bomber: Silks: Needlepoint Sampler: Reproduction Civil War Banknotes and belt buckle, etc.
A collection of four early 19th century partial chapbooks / pamphlets relating to performing magic, fireworks and boxing, bound into one volume. Comprising;Partial illustrated frontis titled New Edition with Addti***/ THE TRUE AND EASY GUI*** /Conjuri** /Being a Capital Collection of the best tricks practised b** / Sieur Boan [Boaz?] Breslaw, Lane, Gyngell, **/ TO WHICH IS ADDED THE / COMPLETE ART OF MAK**/ Fire Wor** /, with top portion of an image of a conjurer (the bottom half of the page is missing), followed by numbered pages 7-32 describing tricks including ‘The watch beat to pieces in a Mortar’, ‘The card nailed to the wall by a pistol shot’, ‘The learned little swan, one of Mr Breslaw’s Grand Deceptions’, ‘To make a Calve’s Head bellow as if alive when dressed and served up’, ‘To render hideous the faces of all the company’, ‘of Sky Rockets’, end ending with a caution not to make fireworks by candlelight. Printer Ann Kemmish, Borough, London (we have not been able to locate another edition of this volume).Frontispage torn out, but followed by an edition of Henry Dean’s Whole Art of Legerdemain;The Whole Art of Legerdemain; / or,/ Hocus pocus in perfection / being a curious selection of diverting secrets and experiments in the / arts of conjuration and slight of hand performed in different parts of Europe and in London, by the most celebrated professors in natural magic and legerdemain, including the newest discoveries: to which is added, the real secret to make and fill an air balloon, and the art of making fire-works… London Printed and sold J Bailey, 116 Chancery Lane, price sixpence, the following page titled Magical Mirror; or Philosopher in Good Humour, then pages numbered 4-28 detailing magic tricks (many duplicates of those in the previous publication). Circa 1809.Frontispage torn out, then;Pyrotechny, the Art of Making Fireworks. 18 numbered pages to include instructions for making gunpowder, Roman Candles, Fire Pumps, Crackers, Stars, Sky Rockets etc with ingredients and measures. No publisher or printer details.Frontispage torn out, then;Just five remnant pages including title from THE ART AND PRACTICE OF SELF-DEFENCE; OR, SCIENTIFIC MODE OF BOXING, DISPLAYED IN AN EASY MANNER, whereby every person may comprehend this most useful art without the aid of a master. To which is added, DESCRIPTIONS OF PUGILISTIC ATTITUDES, also the ART OF ATTACK, as practised by the most celebrated boxers of the present day, got up under the superintendence of A CELEBRATED PUGILIST. London, printed and sold by J. Bailey, 116 Chancery Lane, circa 1819.Bound together with various previous owner’s hand-written inscriptions to the inner covers.
Struck in Rome. OBVERSE: Portrait of Julius Caesar (right), Laurel branch left, winged caduceus right; REVERSE: Charging bull with legends L. LIVINEIUS above, REGULUS in exergue; BMC 4274; B. 57; Craw. 494/24; Syd. 1106; Cohen 2; Seaby 109/27. Pretty gold notes on top of even gray toning on an unusually well-struck, well-preserved portrait denarius depciting Caesar. Extremely Fine.A rare type with one of the best portraits of Julius Caesar seen on ancient Roman denarii.Stack's, Unique Complete Series Men of Rome: The Golden Military Years Lvcivs Svlla to Severvs Alexander 82 BC - 235 AD - The John Whitney Walter Collection, Nov. 29th, 1990, Lot #6. Numismatic Fine Art, NFA Auction XX, March 9th, 1988, Lot #57.
Salvador Dalí (1904-1989)The Sacred Love of Gala, from After 50 Years of Surrealism (Field 74-8J; M&L 674)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 670 x 515mm (26 3/8 x 20 1/4in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)
Vilmos Aba-Novák (Hungarian, 1894-1941) Nude study, 1928, signed and dated lower left, pencil on paper, 20cm x 27.2cm Vilmos Aba-Novák was a Hungarian painter and printmaker who was one of the most original and controversial talents in modern Hungarian painting.From 1912 to 1914, Aba-Novák studied at the College of Fine Arts in Budapest. He then worked at the artists’ colonies in Szolnok and in Nagybánya (now Baia Mare, Rom.). From 1928 to 1930 he was a fellow at the Hungarian Academy of Rome, and from 1939 he taught at the College of Fine Arts in Budapest. His style combined elements of Expressionism with those of the Italian Novecento. His dynamic compositions and use of strong colour conveyed a sense of the fantastic; the worlds of the village fair and the circus were favourite themes. Aba-Novák received numerous commissions for frescoes from the Hungarian government and from churches throughout Hungary (notably the frescoes in the Roman Catholic church in Jászszentandrás, on the Heroes’ Gate in Szeged, and in St. Stephen’s Mausoleum in Székesfehérvár). He won the jury’s Grand Prize at the Paris World Exhibition in 1937 and that of the Venice Biennale in 1940. His paintings are held in the Hungarian National Gallery and in other public collections, as well as in several private collections.Provenance: The György Gordon (1924-2005) collection of Austro-Hungarian Art
Vilmos Aba-Novák (Hungarian, 1894-1941)Head study ,1925, signed and dated lower left, pen and ink on paper, 22.25cm x 15.5cm Vilmos Aba-Novák was a Hungarian painter and printmaker who was one of the most original and controversial talents in modern Hungarian painting.From 1912 to 1914, Aba-Novák studied at the College of Fine Arts in Budapest. He then worked at the artists’ colonies in Szolnok and in Nagybánya (now Baia Mare, Rom.). From 1928 to 1930 he was a fellow at the Hungarian Academy of Rome, and from 1939 he taught at the College of Fine Arts in Budapest. His style combined elements of Expressionism with those of the Italian Novecento. His dynamic compositions and use of strong colour conveyed a sense of the fantastic; the worlds of the village fair and the circus were favourite themes. Aba-Novák received numerous commissions for frescoes from the Hungarian government and from churches throughout Hungary (notably the frescoes in the Roman Catholic church in Jászszentandrás, on the Heroes’ Gate in Szeged, and in St. Stephen’s Mausoleum in Székesfehérvár). He won the jury’s Grand Prize at the Paris World Exhibition in 1937 and that of the Venice Biennale in 1940. His paintings are held in the Hungarian National Gallery and in other public collections, as well as in several private collections.Provenance: The György Gordon (1924-2005) collection of Austro-Hungarian Art
Vilmos Aba-Novák (Hungarian, 1894-1941)Seated Nude,1926, signed and dated lower right, pen and ink on buff paper, 23.5cm x 18cm Vilmos Aba-Novák was a Hungarian painter and printmaker who was one of the most original and controversial talents in modern Hungarian painting.From 1912 to 1914, Aba-Novák studied at the College of Fine Arts in Budapest. He then worked at the artists’ colonies in Szolnok and in Nagybánya (now Baia Mare, Rom.). From 1928 to 1930 he was a fellow at the Hungarian Academy of Rome, and from 1939 he taught at the College of Fine Arts in Budapest. His style combined elements of Expressionism with those of the Italian Novecento. His dynamic compositions and use of strong colour conveyed a sense of the fantastic; the worlds of the village fair and the circus were favourite themes. Aba-Novák received numerous commissions for frescoes from the Hungarian government and from churches throughout Hungary (notably the frescoes in the Roman Catholic church in Jászszentandrás, on the Heroes’ Gate in Szeged, and in St. Stephen’s Mausoleum in Székesfehérvár). He won the jury’s Grand Prize at the Paris World Exhibition in 1937 and that of the Venice Biennale in 1940. His paintings are held in the Hungarian National Gallery and in other public collections, as well as in several private collections.Provenance: The György Gordon (1924-2005) collection of Austro-Hungarian Art
Vilmos Aba-Novák (Hungarian, 1894-1941) Standing Nude,1921, signed and dated lower right, pen and ink on paper, 32cm x 15cm Vilmos Aba-Novák was a Hungarian painter and printmaker who was one of the most original and controversial talents in modern Hungarian painting.From 1912 to 1914, Aba-Novák studied at the College of Fine Arts in Budapest. He then worked at the artists’ colonies in Szolnok and in Nagybánya (now Baia Mare, Rom.). From 1928 to 1930 he was a fellow at the Hungarian Academy of Rome, and from 1939 he taught at the College of Fine Arts in Budapest. His style combined elements of Expressionism with those of the Italian Novecento. His dynamic compositions and use of strong colour conveyed a sense of the fantastic; the worlds of the village fair and the circus were favourite themes. Aba-Novák received numerous commissions for frescoes from the Hungarian government and from churches throughout Hungary (notably the frescoes in the Roman Catholic church in Jászszentandrás, on the Heroes’ Gate in Szeged, and in St. Stephen’s Mausoleum in Székesfehérvár). He won the jury’s Grand Prize at the Paris World Exhibition in 1937 and that of the Venice Biennale in 1940. His paintings are held in the Hungarian National Gallery and in other public collections, as well as in several private collections.Provenance: The György Gordon (1924-2005) collection of Austro-Hungarian Art
Ca. AD 1 - 100. A gold ring with a flat, broad hoop featuring three engraved Roman capital letters Q·I·C· separated by interpuncts.For similar see: Bagot J., El legado de Hefesto: A Memorial to a Private Collection of Ancient Rings and Glyptics, n. 231, 477; Christie's, Live Auction, 7207 Antiquities, Lot 228.Size: D:15.39mm / US: 4 1/2 / UK: I 1/2; Weight: 5.44gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between the early 1960s to 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Roman Period, Ca. 30 BC - AD 200. A leather hat of cylindrical form, made from stitched panels with a prominent central ridge and a reinforced lower edge. Mounted within a modern display frame. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.Size: 180mm x 140mm; Weight: 825gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Erich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Mädchen am Meer. 1922. Öl auf Leinwand. Rechts unten signiert und datiert. Verso auf der Leinwand erneut signiert und datiert sowie auf dem Keilrahmen betitelt und bezeichnet 'Erich Heckel / Mädchen am Meer'. 83 x 96 cm (32,6 x 37,7 in). [AR]. • Äußerst farbharmonische, stimmungsvolle Komposition, die Mensch und Natur auf wunderbare Weise miteinander in Einklang bringt. • Schon seit der 'Brücke'-Zeit zählt das Motiv der Badenden und des Akts unter freiem Himmel zu Erich Heckels zentralen Bildthemen. • In 'Mädchen am Meer' gelingt ihm die Verbildlichung seines metaphysischen Erlebens, das während der Entstehungszeit immer mehr an Bedeutung gewinnt. • Inspiration und Rückzugsort: In den Buchten und Meeresküsten der Ostsee findet der Künstler nach Ende des Ersten Weltkrieges zu neuer Schaffenskraft. • Im Entstehungsjahr wird er mit einer Wandmalerei im Angermuseum in Erfurt beauftragt, darunter auch eine Badeszene. • Seit 57 Jahrem in privatem Familienbesitz. Wir danken den Rechtsvertretern der Erben der Familie Hess für die freundliche Auskunft. PROVENIENZ: Sammlung Alfred und Thekla Hess (geb. Pauson), Erfurt. Sammlung Stefan Pauson, Bamberg (vom Vorgenannten erhalten, Bruder von Thekla Hess). Horace P. Oscher, Cincinnati/Ohio (1965, Schwiegersohn des Vorgenannten). Roman Norbert Ketterer, Campione d'Italia. Sammlung Udo und Mania Bey, Sarlhusen (1968 vom Vorgenannten erworben). Privatsammlung Süddeutschland (durch Erbschaft von Vorgenannten). LITERATUR: Andreas Hüneke, Erich Heckel. Werkverzeichnis der Gemälde, Wandbilder und Skulpturen, Bd. II (1919-1964), München 2017, WVZ-Nr. 1922-4 (m. Farbabb.). Paul Vogt, Erich Heckel, Recklinghausen 1965, WVZ-Nr. 1922-4 (m. Abb.). - - Roman Norbert Ketterer, Moderne Kunst IV, Campione d'Italia, 1967, Kat.-Nr. 35 (m. Farbabb. S. 55). Roman Norbert Ketterer, Moderne Kunst V, Campione d'Italia, 1968, Kat.-Nr. 41 (m. Farbabb. S. 51). Christian Rathke, Erich Heckel im Schleswig-Holsteinischen Landesmuseum. Gemälde, Aquarelle, Zeichnungen, Schleswig 1980, S. 68. Sotheby's, London, German & Austrian Art, 6.10.1999, Los 151. Aufrufzeit: 07.06.2025 - ca. 14.28 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONErich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Mädchen am Meer. 1922. Oil on canvas. Signed and dated in the lower right corner. Signed and dated again on the reverse of the canvas, as well as titled and inscribed on the stretcher, “Erich Heckel / Mädchen am Meer”. 83 x 96 cm (32.6 x 37.7 in). [AR]. • Atmospheric composition showcasing man and nature in harmony. • Since the “Brücke” period, the motifs of bathers and nudes in the open air have ranked among Erich Heckel's key pictorial themes. • In “Mädchen am Meer,” Heckel visualizes his metaphysical experience, which gained increasing significance during the time of the painting's creation. • Inspiration and retreat: the artist found new creative energy at the Baltic Sea after the end of the First World War. • In the year the work was made, he was commissioned to paint a mural in the Angermuseum in Erfurt, which included a beach scene. • In family ownership for 57 years. We are grateful to the legal representatives of the Hess family for their kind advice. PROVENANCE: Alfred and Thekla Hess Collection (née Pauson), Erfurt. Stefan Pauson Collection, Bamberg (obtained from the above, brother of Thekla Hess). Horace P. Oscher, Cincinnati, Ohio (1965, son-in-law of the above). Roman Norbert Ketterer, Campione d'Italia. Udo and Mania Bey Collection, Sarlhusen (acquired from the above in 1968). Private collection, South Germany (inherited from the above). LITERATURE: Andreas Hüneke, Erich Heckel. Catalogue raisonné of paintings, murals, and sculptures, vol. II (1919–1964), Munich 2017, catalog no. 1922-4 (illustrated in color) Paul Vogt, Erich Heckel, Recklinghausen 1965, no. 1922-4 (illustrated). - Roman Norbert Ketterer, Moderna Kunst IV, Campione d'Italia, 1967, cat. no. 35 (illustrated in color on p. 55). Roman Norbert Ketterer, Modern Art V, Campione d'Italia, 1968, cat. no. 41 (illiustrated in color on p. 51). Christian Rathke, Erich Heckel im Schleswig-Holsteinischen Landesmuseum. Gemälde, Aquarelle, Zeichnungen, Schleswig 1980, p. 68. Sotheby's London, German & Austrian Art, October 6, 1999, lot 151. Called up: June 7, 2025 - ca. 14.28 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
![[POSTER - FILM FESTIVAL]LARRY RIVERS. First New York Film Festival. [New York]: Universal Art Editions, 1963. Dated 9/10/63,](https://cdn.globalauctionplatform.com/63d3e3f8-fe96-4a18-98cf-b2ea011467be/9b7d837f-0218-4aad-a0b2-b2ea01170948/468x382.jpg)
[POSTER - FILM FESTIVAL]LARRY RIVERS. First New York Film Festival. [New York]: Universal Art Editions, 1963. Dated 9/10/63, signed by the artist Larry Rivers, and numbered 123/250 in pencil (lr). Offset lithograph in four colors; 45 x 29 inches. Framed. Light toning, the paper is somewhat wavy, not lying flat in the frame, and evidently not laid down, not examined out of frame. A signed, limited edition poster from the first New York Film Festival, now one of the most important film festivals in the world, designed by the artist Larry Rivers. The festival was held at both the Museum of Modern Art and Lincoln Center, and it featured films by Luis Buñuel, Jean-Pierre Melville, Roman Polanski, Alain Resnais, Joseph Losey, and Robert Bresson, among others. The composition shows a film camera pointing towards a female figure, and the artist's style, termed objective abstraction, blends elements of drawing, painting, and typography.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available. Request a condition report
* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), CUILLIN HILLS FROM ELGOL oil on board, signed, titled versoframed and under glassimage size 62cm x 89cm, overall size 82cm x 108cm 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), CRINAN MOORING oil on board, signed, titled versoframed and under glassimage size 51cm x 51cm, overall size 72cm x 72cmNote: 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), FORGET-ME-NOTS & BLUE JUG oil on board, signed, titled verso framed and under glassimage size 21cm x 21cm, overall size 39cm x 39cm 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, GRAND CANAL, VENICE oil on board, signed, titled versoframed and under glassimage size 51cm x 71cm, overall size 73cm x 93cm 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), REFLECTIONS OF FRUIT oil on board, signed, titled verso framed and under glassimage size 21cm x 21cm, overall size 39cm x 39cm 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.
Dynamic and highly detailed print by Polish contemporary artist Robert Proch, titled Imitations. This visually striking composition exemplifies Proch's signature blend of abstraction and architectural deconstruction, creating an illusion of fragmented reality. The piece features human figures in a surreal urban landscape, walking precariously on intersecting planes, a theme often explored in his work. Proch, heavily influenced by street art, animation, and modernist abstraction, fused geometric precision with expressive movement, evoking themes of urban chaos, human isolation, and technological dissonance. Signed in the lower right and embossed with the Lazardies gallery mark, the print also bears a unique edition marking in Roman numerals. Proch's legacy in contemporary art remains highly sought after, with works that blur the boundaries between structure and spontaneity. Signature, title and edition number on lower edge. A/P (Artist Proof) VII/VIII (7 of 8.) Blind stamp for Lazarides. Artist: Robert Proch (Polish, 1986-2019)Dimensions: 39.25"L x 23.25"HIssued: 2013Country of Origin: PolandCondition: Age related wear.
DARBOVEN, HANNE1941 München - 2009 RönneburgTitel: "Der Sand". 456 Blätter. Datierung: 1979. Technik: Jeweils: Tusche auf Pergaminpapier. Maße: Jeweils 29,5 x 21 cm. Bezeichnung: Jeweils datiert unten links und fortlaufend nummeriert oben rechts von 1|* - 8| * (Register), dann 1-448. Betitelt auf Blatt 1: "DER SAND". Nochmals betitelt auf dem letzten Blatt, hier zudem signiert und datiert unten rechts: darboven, 1979. Rahmen: In Künstlerrahmen. Jeweils: 31 × 22,5cm. Im Rahmen beschrieben. Provenienz:- Galerie Elisabeth Kaufmann, Basel/Zürich (1988 direkt von der Künstlerin)- Privatsammlung GroßbritannienAusstellungen:- Rheinisches Landesmuseum Bonn, 1979- Halle für Internationale Kunst, InK, Zürich 1980- Martin-Gropius-Bau, Berlin 2003/2004- Fondation pour l'art contemporain, Claudine et Jean-Marc Salomon, Annecy 2008- Galerie Kewenig, Köln 2009/10- Art Basel Unlimited, 2012- Mu.Zee, Oostende 2014/2015Literatur:- Ausst.-Kat. Berlin Moskwa - Moskau - Berlin: 1950 - 2000, Martin-Gropius-Bau, Berlin 2003- Woithe, Gabriele: Das Kunstwerk als Lebensgeschichte: Zur autobiografischen Dimension bildender Kunst, Berlin 2008, S. 170/186- Ausst.-Kat. L'ivresse de l'absolute: Pierrette Bloch, Hanne Darboven, Pierre Ferrarini, Roman Opalka, Wolfgang Laib, Nièle Toroni, Claude Viallat, Fondation pour l'art contemporain, Claudine et Jean-Marc Salomon, Annecy 2008- Ausst.-Kat. Das Meer The Sea La Mer De Zee, Hommage à Jan Hoet, Mu.Zee, Oostende 2014, S. 129, Abb.- Jean-Claude und Christo brachten Darbovens Kunst auf einen Nenner: "Wir verpacken Dinge, Gebäude und Landschaften - Hanne Darboven Zeit." - Arbeit aus einer wichtigen Schaffensphase. Es entstehen Schlüsselwerke mit historischen und zeitgenössischen Bezügen wie "Bismarckzeit" 1978, heute im Kunstmuseum Bonn und "Kulturgeschichte 1880 - 1983", heute in der DIA Art Foundation in New York - Reflexion über Zeitgeschichte und den eigenen Standpunkt in der Informationsflut und den Widersprüchlichkeiten der postmodernen Welt Zeit über den Schreibprozess sichtbar, um Wirklichkeit erfahrbar zu machen Hanne Darboven ist eine der außergewöhnlichsten Künstlerinnen des 20. Jahrhunderts. Weiblicher Dandy, Exzentrikerin und eine der wenigen Künstlerinnen ihrer Generation, die sich im internationalen Kunstbetrieb Anerkennung erwerben. Der Spiegel schreibt: "Im Vergleich zu dieser Frau war selbst Beuys Mainstream." (Knöfel, Ulrike "Auf ihre sehr eigene Weise", in: Der Spiegel 36, 2015)Darbovens Reflexion über die Zeit und das Zeitgeschehen in ihren raumfüllenden Schreibinstallationen gehört zu den wichtigsten Beiträgen der internationalen Konzeptkunst. In ihren Arbeiten verknüpft Darboven Zahlenfolgen und Strukturen, die auf Kalenderdaten basieren, mit einem assoziativen Schreibprozess. Oft beginnt sie mit einem Schlüsselwort, das sich zu einer Assoziationskette entwickelt. Ihre in Schrift übertragenen Gedankenreihen scheinen bewusst gewählt und dann auch wieder nicht. Die Texte sind aus Enzyklopädien und der Tagespresse oder Nachrichtenmagazinen übernommen. So verknüpft Darboven kollektiv anerkanntes Wissen mit hochaktuellen Ereignissen. Man ist versucht, dabei neue Bezüge herzustellen, obwohl Darboven die Texte konsequent nicht kommentiert. Gleichzeitig veranschaulichen ihre u-förmigen Schreibmuster den manuellen Prozess und visualisieren das erstaunliche Ausmaß, das der Akt der selbst ausgeführten Handschrift in ihrer Arbeit einnimmt. Es ist auch die schiere Materialität ihrer Werke, die auf den Betrachter einwirkt. Der Sand - Kein Erfassen von Zeit ohne Geschichte Die Arbeit "Der Sand" bildet eine Zeitkapsel, die durch das Register am Anfang und am Ende umschlossen wird. Die Kalenderdaten des Jahres 1979 dienen als Struktur. Jedes Blatt bezieht sich auf einen Tag aus dem Jahr 1979. Das Register skizziert den Inhalt der Arbeit, enthält die Quellenangaben der abgeschriebenen Texte und die Angabe, wo Darbovens Abschrift in der Arbeit erscheint. Das Werk entsteht im Zeitraum von 01.01.1979 bis 07.07.1979. In dieser real beim Schreiben erlebten Zeit notiert Darboven Texte aus verschiedenen Quellen sowie Tagesrechnungen. Die Blätter, die das erste Halbjahr dieses Jahres umfassen, sind gefüllt mit Texten aus Enzyklopädien und Zitaten aus Interviews, die im Nachrichtenmagazin "Der Spiegel" veröffentlicht oder im Fernsehen gezeigt wurden, sowie Texten aus "La mare du diable" von George Sand und Liedern von Karl Valentin und Marlene Dietrich ("Sag mir wo die Blumen sind"). Auf das Register zu Beginn von "Der Sand" folgt der Brockhaus-Eintrag über die französische Schriftstellerin George Sand. In der Folge fügt Darboven dem Wort "Sand" weitere Begriffe zum Thema "Sand" hinzu, wie "Sandmann", "Sandpflanze", "Sandmodell". "Sanduhr" führt sie schließlich zum Wort "Chronos", dem griechischen Gott der Zeit. Mit der Abschrift eines Interviews mit Ursel Lorenzen steht dann im weiteren Verlauf der brisante Konflikt zwischen Ost und West während des Kalten Krieges unvermittelt neben der Ebene enzyklopädischen Wissens. Lorenzen, eine Mitarbeiterin des NATO-Generalsekretärs, setzt sich im März 1979 in die DDR ab, als sie mit ihrer Enttarnung als Agentin der Stasi rechnen muss. Der Begriff "Sand" kann auch biografische Assoziationen wecken. Hanne Darboven wächst südlich der Elbe in der Nähe von Harburg auf, wo sie mit ihren Eltern in der Nähe eines kleinen Marktplatzes namens "Sand" lebte. Es sind auch dieser Wechsel und die Verknüpfungen zwischen verschiedenen Ebenen, die Hanne Darboven als eine der faszinierendsten Konzeptkünstlerinnen auszeichnen. Der Hintergrund, der mit den zitierten Texten in ihren Werken verknüpft sein kann, erscheint als Gegensatz zu Darbovens konzeptuellem Schreiben, der rhythmischen Abfolge ihrer handschriftlichen Loops. Zugleich äußert sich die Künstlerin nicht zu ihren Abschriften und ihrer eigenen Verortung hierin gemäß ihrem Motto "ich schreibe, aber ich beschreibe nichts", so dass die Wiedergabe von Äußerungen Dritter auch irritierend beliebig wirken kann. (Vgl. www.hanne-darboven.org/stiftung)Hanne Darboven lässt offen, in welchem Verhältnis in ihrem Werk der Fokus auf Ordnungssystemen und seriellen Prozessen, erfasst über ihr eigenes numerisches Schema, zu einer über die Form hinausgehenden Gedankenwelt steht. Ihr umfangreiches Oeuvre kann andeuten, dass Kunst weder reiner Inhalt noch bloße Form ist, sondern ein Tor öffnet zur Reflexion über Zeitgeschichte und den eigenen Standpunkt in der Informationsflut, den Widersprüchlichkeiten und dem Chaos der postmodernen Welt. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion. Für dieses Los berechnen wir zusätzlich die Einfuhrumsatzsteuer, da das Objekt von außerhalb der EU eingeführt wurde (Verkaufsbedingungen §V5.2).Erläuterungen zum Katalog Hanne Darboven Unikate 1970er Schrift Papierarbeit Tinte Zeit
A ROMAN BLUE GLASS SPHERICAL BODIED CINERARY URN, CIRCA 2ND-3RD CENTURY A.D. with two applied strap handles, everted rim wheel-cut banding around the circumference, 23cm highProvenance: Private collection, England. Acquired Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, lot 19 illus. Chip to the rim. Surface heavily encrusted with mud on the exterior and interior. One side of the body with dark brown discolouration. Remnants of mud and probably bone inside.
FIVE PALE BLUE AND GREEN GLASS VESSELS, CIRCA 2ND-4TH CENTURY A.D. including a vessel with bulbous body, mould-blown with vertical ribbing, the tall cylindrical neck with funnel mouth, 11cm high, an old label on the underside of the base ink inscribed ‘Roman glass from Cyprus 50 BC to AD 400’; a bottle with bulbous body, cylindrical everted rim and deeply indented base, 10.4cm high; two bottles with conical body, cylindrical neck and folded rim, 9.7cm high and 8.6cm high and an unguentarium with tall cylindrical neck and everted rim, 9.5cm high (5)Provenance: Private collection, England. With funnel rim: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 7 (part).Others: possibly from lots 4 & 6 in the same auction All with some surface abrasions and encrustation. One conical-bodied vessel with milky iridescence
2nd century A.D. Modelled in the round, the goddess standing on a rectangular base; wearing a flounced floor-length robe draped from the shoulders and gathered at the waist, her sandaled feet emerging from beneath the hem; collar with scooped lower edge and centrepiece the gorgoneion disc with mask; at her left side and reaching from base to waist-height, a disc shield with figural tondo and broad rim; to the reverse a deep loop handle enmeshed in the coils of a large serpent with head rearing towards the forward edge of the shield's rim; tondo with high-relief scenes including combat between armed and armoured warriors, fleeing females, cloaked figure hurling a rock and other events surrounding the central gorgoneion motif; scooped socket at the neck to accept a separately-carved head. Cf. Harrison, E.V., ‘The composition of the Amazonomachy on the shield of Athena Parthenos’ in American School of Classical Studies at Athens, Hesperia, Volume 35, Issue 2, pp.107-133, plates 36-41. 100 kg, 84.5 cm (33 1/4 in.). [A video of this lot is available to view on Timeline Auctions Website]Acquired on the German art market, early 1970s. German private family collection; by gift to the owner's son in 2015. Private collection, London, UK. Accompanied by an academic report by Dr Marina Mattei, former curator of the Capitoline Museums for over 40 years. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12623-234557. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The statue represents the Athena Parthenos of Phidias, a cult statue in gold and ivory, placed inside the Parthenon in Athens. The copy, from the Roman era, is of remarkable workmanship in Pentelic marble, realised in a faithful way to the original. The statue is conceived as a cult figure, rigidly frontal; it wears a Doric peplos open on the right side with an apoptygma, a voluminous tuck, tightened at the waist by a belt of small snakes knotted with their tails and tied at the front with the heads. The aegis, skin of the goat Amalthea, protects the bust like a breastplate; divided into two parts on the chest, it is closed in the centre by a gorgoneion (head of a Gorgon, Medusa) with snakes coiled along the edge. Along the left side, two props secure the shield characterised by an external relief with Amazonomachy, a battle between Greeks and Amazons.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.
8th century B.C. With rounded bowl and flared rim; three sets of paired piercings for attachment of leather cheek-flaps; cracked; accompanied by a custom-made display stand. Cf. Coussin, P., Les Armes Romaines, Paris, 1926; Connolly, P., Greece and Rome at War, London, 1981; Fossati, I., Etruscan Armies, Milano, 1987, p.50, fig.4; Egg, M., 'Italische Helme mit krempe' in Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.222ff., figs.1, 2, 34 and items 58-59, for type; Sekunda, N., and Northwood, S., Early Roman Armies, Oxford, 1995; Connolly, P., Greece and Rome at War, London, 2006; D'Amato, R., Salimbeti, A., The Etruscans, Oxford, 2018, pp.21ff. and pl.B3; D’Amato, R., Negin, A., Decorated Roman Armour, London, 2017, pp.8ff. and fig.2. 1.7 kg, 30.5 cm wide (12 in.). [A video of this lot is available to view on Timeline Auctions Website]Acquired early 1990s. Ex private American collection; thence by descent. Private European collection since 1998. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11573-199009. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The ‘pot’ or ‘bell’ helmet, found in contexts as early as the 8th century coffer grave (ad arca) from the Esquiline (Rome) and other graves (Coussin, 1926, p.88, fig.23; Sekunda, Northwood,1995, p.6, grave 94) was made from a single piece of bronze, while later Italic variants were fashioned from jointed plates (Connolly, 1981, p.102, figs.2-2a; Egg, 1988, p.223, variant Vetulonia). The skull was somewhat spherical, with a flared rim: in some Etruscan and Italic specimens, this was rivetted for strength.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.
1st century B.C. Fusiform with reserved legend 'LXIII' (for LEGIO XIII = 13th Legion). Cf. D'Amato, R. and Sumner, G., Arms and Armour of the Imperial Roman Soldier: From Marius to Commodus, 112 BC-AD 192, London, 2009, fig.32, p.45, for a similar glandes from Zaragoza Museum, from Munda battlefield; cf. also D'Amato, R., La Grande Storia delle Legioni Romane, Roma, 2021. 32.6 grams, 36 mm (1 3/8 in.). [No Reserve] Acquired on the UK art market. Property of a gentleman collector. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The shot (Völling type 1C) is marked with the abbreviated name of Legion XIII, and was probably used at the Battle of Munda (or Monda) against Julius Caesar, 17th March 45 B.C., or against the sons of Pompey, because both the generals (Pompey sons and Caesar) had in their army a Legio with the numeral XIII on that day. Interestingly, other glandes of the same typology from the same battlefield bear the name of Pompey, so that it is much possible that the glans belongs to the Legio XIII of Pompey, who was destroyed during the battle and whose survivors were massacred among the 22,000 defenders of Cordoba by the troops of Caesar (D'Amato, 2021, pp.421 and 424). The projectiles were made of different materials: lead (glandes) or in pottery or stone (lapides missiles).TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.
al-Halab (Aleppo) mint. Dated AH 571 (AD 1175/6). AH 569-577 (AD 1174-1181). Pearl-diademed, draped, and cuirassed Roman-style bust to right; mint name and AH date around / Names and titles of Abbasid Caliph al-Mustadi and Al-Salih Isma’il in five lines across field. S&S Type 76. 3.57gr, 23mm, 12h. Near Very Fine.UK private collection before 2000. Acquired on the UK art market. Private collection, London.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists.
1st century B.C.-1st century A.D. The bowl with a wide flat bottom and convex sides; the inside with incised concentric circles; flat handle with raised edges and hooked finial for suspension. Cf. Tassinari, S., La vaiselle de bronze, Romaine et Provinciale, au musée des antiquités nationales, Paris, 1975, fig.1, for a similar pan; for 1st century B.C.-1st century A.D. types see Willers, H., Neue Untersuchungen über die römische Bronze Industrie von Capua und von Niedergermanien, Hannover und Leipzig, 1907; Eggers, H.J., Der römische Import in freien Germanien, Hamburg, 1951, type 130; and the famous Aylesford specimen in Evans, A.J., ‘On a Late-Celtic Urn-Field at Aylesford, Kent, and on the Gaulish, Illyro-Italic, and Classical Connexions of the Forms of Pottery and Bronze-work there discovered’, in Archeologia, 2nd Series, Vol.52, London, 1890, pp.315-388; Cunliffe, B., Iron Age Communities in Britain, London, 2005, pp.152-9. Exhibited at the Harwich Museum, Harwich, Essex, UK, 19th June-9th September 2024; accompanied by a copy of a photograph of the artefact on display. 483 grams, 39.5 cm (15 1/2 in.). German private collection, Mr O., collecting in the 1950s-1960s; thence by descent. with Bonhams, London, 7 July 2016, lot 191 (£3,000-5,000). Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by copies of the relevant Bonhams printed catalogue pages (full page). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11735-201189. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.This vessel was part of Roman and provincial bronze instrumentum domesticum, i.e. culinary or domestic utility ware. Such cooking vessels are rare: some are found in central and northern Italy, in Pannonia, Germany and in Britain. The Aylesford Pan, today in the British Museum (inventory no.1886.1112.1), is one of the most important finds. This specimen (Eggers type 130), probably pre-Caesarian or Caesarian, was found in a grave together with a Celtic bucket and a jug.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.
1st century B.C. Biconical lead slingshot (glans) with inscription in Latin letters 'CN' (Cneius) 'MAG' (Magnus) on one side, and 'IMP' for 'IMPERATOR' (victorious general) to the other side, i.e Gnaeus Pompeius Magnus Imperator (Pompey the Great the victorious general). Cf. D'Amato, R. and Sumner, G., Arms and Armour of the Imperial Roman Soldier: From Marius to Commodus, 112 BC-AD 192, London, 2009, fig.32, p.45, for a similar glandes from Zaragoza Museum, the one with the name of Pompey inscribed coming from Munda battlefield. 43.6 grams, 40 mm (1 5/8 in.). [No Reserve] Acquired on the UK art market. Property of a gentleman collector. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The shot (Völling type 1C) is marked with the abbreviated name of Gnaeus Pompey; it was used in quantity at the Battle of Monda (or Munda) against Julius Caesar, 17th March 45 BC. The projectiles were made of different materials: lead (glandes) or in pottery or stone (lapides missiles). Sometimes they were signed with the name of the general, like our specimen.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.
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