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Los 1758
Wartime Poster - World War II Auxiliary Territorial Service - There's a Grand Job Waiting - You Can Still Volunteer - bottom left corner is printed 'If you are over 17 1/2 and under 35 you are wanted. Openings for Drivers, Signalers, Orderlies, Clerks, Cooks, Technical Storewomen, Postal Workers, Motor Cyclists and all sorts of other special jobs - the sooner you come the wider the choice Condition report: Poster has been folded, some losses to centre and on fold line, rip to right hand side in four places, and left hand side in two, two small holes to top left hand section, three pin holes to bottom right, some marks light to base poster A Road Traffic information poster printed by Loxley Bros - Stop, never overtake at a crossing - Condition report: Been folded, various losses on fold line, parts of poster missing top right, bottom left, across bottom and bottom right
Los 101a
North America, ca. 1840 to 1900 CE. This is a collection of two daguerreotype and ten tintype photographs. Daguerreotype was the first publicly available photographic process, created by rubbing a sheet of silver-plated copper with fumes to make its surface light sensitive and then exposing it. The image was made visible by fuming it with mercury vapor, and then it was treated with liquid chemicals and dried before being enclosed behind glass to protect. The two here are both clear and in original protective frames. One is of a child with a strikingly serious gaze and the other is of a young woman with her elegant clothing clearly visible. Unlike any other photographic preparation, daguerreotypes give the impression that the image is floating inside of the metal upon which it is imprinted. The tintypes, meanwhile, are from the next phase of photographic technology. They replaced the daguerreotype by the 1860s because they could be made in a matter of minutes. People out at fairs or carnivals could often have their photographs taken and receive the images shortly thereafter. The colleciton here shows several portraits of individuals in protective sleeves, a couple, a family of four, a well-dressed man standing in a beautifully decorated room, and an older man seated outdoors. Size of largest: 3.3" W x 3.75" H (8.4 cm x 9.5 cm). Provenance: Ex-Historia Antiques, James Caswell, Santa Monica, CA. Condition: All have some wear and fading; the one inside the covered frame has its binding broken, but both pieces are present. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111734
Los 20
Rome, ca. 1st century BCE to 2nd century CE. Beautiful example of ancient glass beads fabricated with internal glass spheres shrouded with gold, then covered again with a glass outer layer. In antiquity they would have been spectacular with shimmering light. Today the outer sheath has patinated and some of the beads have lost the outer layer of glass which is fortunate revealing the gold within. Gold spacers, very rare. It's very hard to capture the beauty of this rare piece in a photo. It must be seen in person to realize how beautiful this amazing example of the ancient jewelry glassmakers art this is! Size: 24"L (61 cm). Provenance: Acquired by present owner in England from an old English collection Condition: Very fine. Restrung. Ready to wear. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #110569
Los 252
Rome, ca. 200 BCE to 400 CE. This is a strap end from a belt or similar item, made of bronze, with swirling, geometric designs. Size: 1.3" L x 1.6" W (3.3 cm x 4.1 cm). Provenance: Ex-private M. Reniger collection, Chicago, IL. Condition: Light patina. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111370
Los 304
Roman Empire, ca. 1st to 3rd century CE. A poignant mold-made ceramic visage representing the god Apollo, the face subtly turned on his elegant neck, with almost feminine features and hairstyle. The youthful god of music, the sun, light, poetry, prophecy, healing and more is depicted in a beautiful, idealized manner. Take a moment to appreciate the elegant, oval form of his face as it tapers to a slightly square chin, and his finely delineated, wavy coiffure, parted at the center with curly locks of hair framing his face, cascading down his neck, and billowing down the back of his head. Beyond this is his sensitive visage, embellished with gracefully arching brows that merge into his straight, noble nose, his mesmerizing almond-shaped eyes, and his delectably bow-shaped mouth with full, curvy lips that are slightly parted. A lovely example! Lucite block stand. Size: piece itself measures 1.75" W x 3" H (4.4 cm x 7.6 cm); 4.625" (11.7 cm) Provenance: Ex-private M. Reiniger collection, Chicago, IL. Condition: A fragment as shown with normal surface wear. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111397
Los 62a
Pre-Columbian, Peru, Paracas, ca. 400 BCE to 100 CE. This vessel created by the ancients of South America boasts an intriuging form. A four lobed Paracas bowl with four inward curving walls, the center of each adorned with an incised human visage, abstractly conveyed with slits for eyes, nose, and mouth. The four "corners" that curve outward could easily serve as spouts. Framing the faces on the periphery are incised bands. The color scheme retains much original saturated red pigment. Size: 3"H x 6-3/4" across at widest point. Provenance: Ex-Midwest Fine Art Gallery Condition: Intact with minor surface wear as shown. One light stable hairline crack, overall retaining light encrustations and dendritic mineral growths. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #107400
Los 71k
Pre-Columbian, South Coast Peru, Nazca, ca. 400 to 500 CE. A polychrome beaker hand-built from a rounded bottom, resolving in gracefully curved walls. The surface decoration is divided into horizontal bands from the base to the rim. The lowest band is undecorated but painted a rich red-brown. Above it is a band of abstract bird or animal eye motifs in chocolate brown against a white ground. Next, we have a band of step-fret motifs in beige, red-brown, brick red, charcoal grey, and white surrounded by bands of solid red. Finally, another band of animorphic eyes in chocolate brown on white topped with a narrow band of light tan. Provenance: Ex-Private Young collection, Colorado Springs, CO; Ex-Arte Xibalba, Sarasota, FL, from the collection of Max Alvarado, collected in the 1970s Condition: Intact with one area of staining on side wall. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111776
Los 74
Europe, Franco-Flemish, ca. 15th century CE. In a word, wow! A stunning illuminated manuscript hand painted on vellum, depicting the Annunciation on one side, with text on the verso. The artist has elegantly captured this moment when the angel Gabriel told Mary, "You shall conceive and bear a son, and you shall give him the name Jesus." The painting is so fine and descriptive, one can almost hear Gabriel's surprising announcement. Gabriel kneels before the Virgin who sits in a prayerful gesture; Gabriel places his right hand over his heart, holds a sceptor in his left, while gazing at the Virgin Mary as rays of light project from his glorious wings, perhaps symbolizing the dove of the holy spirit. Both are framed within a lovely architectural setting of classical arches and columns. Did I mention how finely painted this piece is? Even so, it bears repeating, and just marvel at those jewel-tone hues! Brilliant! Size: illuminated manuscript itself measures 4-1/2" x 3-1/4" (11.4 x 8.3 cm); framed 10" L x 9" W (25.4 cm x 22.9 cm).Illumination was a complicated and costly process reserved for sacred books such as the bible as well as Books of Hours made in monasteries. According to Robert G. Calkins who wrote "Stages of Execution: Procedures of Illumination as Revealed in an Unfinished Book of Hours," (International Center of Medieval Art 17:1 (1978): 61-70), the text was written first, on vellum or parchment cut to the appropriate size. The pre-production preparation took much time. First, a silverpoint drawing of the design was executed. Burnished gold dots were next applied followed by the application of modulating colors. The previous three steps were repeated in addition to the outlining of marginal figures. Next, the penning of a rinceaux appearing in the border of a page, and finally, the marginal figures were painted. Beyond this was the preparation of pigments, and as you can see, the medieval artist's palette was quite extensive. This process demanded so many steps and layers of technique and artistry! Provenance: Ex- Estate of M. Reiniger, Chicago, IL Condition: A section that is in excellent overall condition. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111499
Los 92c
Europe, Italy, ca. 18th to 19th century CE, An impressive painting, oil on panel, depicting the Madonna and Child with Saint John the Baptist. This subject was depicted by several Renaissance and Baroque masters including Correggio, Franciabigio, Antonio Guardi, Agostino Carracci, Bernardo Strozzi . . . There's even an unfinished version known as The Manchester Madonna attributed to Michelangelo in the National Gallery, London. Although no biblical account of a meeting between the infant Christ and John exists, playful depictions of this legendary encounter often appear in Renaissance as well as Baroque paintings. Renderings of the Madonna and Child that include Saint John the Baptist were inspired by a non-biblical narrative that tells of the Virgin Mary and Infant Jesus meeting Christ's cousin John the Baptist during the Holy Family's flight to Egypt. We have just been alerted that this indeed may have been painted by a "follower of or after" Van Dyck. We do not know, so you be the judge. See last image in the listing here to see the original painting. This composition foreshadows the cousins' relationship as adults that begins when John baptizes Christ. The scroll in Saint John the Baptist's hand is likely to be the scroll that reads Ecce Agnus Dei (Behold the Lamb of God) usually attributed to John the Baptist - and of course, there is a lamb beneath John. Here we see a near pyramidal arrangement - that stable compositional arrangement of the Renaissance - with Mary positioned at the apex and the children below, though Jesus is playfully standing upon a column, his head nearly reaching Mary's. The artist used a pleasing palette of rich jewel-toned hues in a style displaying a keen eye for line as well as more expressive brushwork. Notice the soft outlines and somewhat hazy modeling of the figures. The dramatic tenebroso (strong contrasts between dark and light) of the painting was typical of the Baroque period. A beautiful painting with figures that exude a sensuous quality and together show one another a sweet tenderness. Beyond this is the impressive gilded frame, gushing with floral ornament. Size: painting itself measures 16" L x 12.75" W (40.6 cm x 32.4 cm); framed 18.5" x 16" (47 x 40.6 cm) Provenance: Ex-Estate of M. Reiniger, Chicago, IL Condition: Evidence of minor surface wear with areas on possible in-painting. Slight wear to the frame as shown. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111576
Los 97
Latin America, Mexico, dated 1868 CE. A beautiful Mexican retablo depicting the Mater Dolorosa, a popular subject venerating the Virgin Mary. In addition to the traditional depiction, this example is signed and dated on the bottom in lovely handwriting; it reads, "Mater Dolorosa Ano de 1868 Ignacio Munoz ." We see the Virgin Mary dressed in traditional blue robe against a teal green background, light radiating from her head like a halo, her face delicately painted. Her hands are clasped in sorrow as she contemplates the crucifixion, represented by the cross in the lower left corner. A sword pierces her heart, a reference to Luke 2:35: "And Simeon blessed them and said to Mary His mother, 'Behold, this Child is appointed for the fall and rise of many in Israel, and for a sign to be opposed--and a sword will pierce even your own soul-- to the end that thoughts from many hearts may be revealed.'" This image is one of the most important compositions in which Mary is depicted without Christ. She is represented as the mourning mother projecting a grieving attitude, with the crown of thorns beneath her. The acronym INRI (Jesus the Nazarene, King of the Jews) also painted below. Size: 14" W x 10" H (35.6 cm x 25.4 cm). Provenance: Ex-Historia Antiques, James Caswell, Santa Monica, CA. Condition: Perforations at top center and corners for suspension. Loss to bottom left corner as shown. Normal surface wear. Overall excellent. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #109994
Los 193
ASSORTED MILITARIA comprising a pair of brown leather flying gloves, labelled respectively 'Type H / Left Hand / Garment No. W.3436 / Size Medium / Ref. 22C/1022 / 15690' and 'Type H / Right Hand / Garment No. W.7880 / Size Medium / Ref. 22C/1025 / 15690', each with arrow mark; together with a Somerset Light Infantry ebonized swagger stick with an embossed nickel-silver knop, 68cm long.
Los 119
Italian 1960's design light fitting by Mazzega Murano, the wire frame supporting eighteen glass disks, 38cm high This lot is sold subject to V.A.T. Therefore £100 hammer price will have Buyers premium on top and also an extra £20 in V.A.T. Condition report: There are chips to the edges of the drilled support holes on each glass disk however there are no other chips or cracks to the glass anywhere else other than on the drilled hole. Condition report: see terms and conditions
Los 120
Italian 1960's design light fitting by Mazzega Murano, the wire frame supporting ten glass disks, 38cm high This lot is sold subject to V.A.T. Therefore £100 hammer price will have Buyers premium on top and also an extra £20 in V.A.T. Condition report: There are chips to the edges of the drilled support holes on each glass disk one glass disk has been restuck, another two have rim chips. There are no other chips or cracks. Condition report: see terms and conditions
Los 37
John C. Edwards (20th Century) Study of an eagle Graphite, heightened with white, on light grey wove paper Signed lower right 21 x 26.5 cm Provenance: The Moorland Gallery Together with two further sheets of a snowy owl and a squirrel both signed in pencil, 21 x 29.5 cm and 29 x 24 cm, respectively, (3) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 7
Visconti (Giambattista) et alia Il Museo Pio Clementino …, 1782-1807, Roma, 7 vols large folio, each vol. with half-title, portrait frontis and engraved titled page, and 379 plates in all (incl. folding plan, ''bis'' plates etc); together with vol. 1 of Il Museo Chiarmonti, 1808, engr. frontis and title, 45 plates, uniformly bound with the above in full contemp.calf, gilt and blind (some light marginal spotting, several covers off, spines rubbed) (8)
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534297 Los(e)/Seite