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283284 Los(e)/Seite
Los 269
A pearl and diamond pendant and chain bearing a portrait of Albert McGill (1863-1909), the yellow and white metal circular frame 28mm diameter set with ten 3.6mm pearls and spaced by laurel leaves set with pairs of rose cut diamonds with a bow motif to top, forty-six diamonds in total, the back of the frame having an engraved laurel leaf border, fine yellow metal rectangular trace link chain 45cm long marked 333, gross weight excluding photograph approximately 9.6gms.
Los 98
Victorian silver Diamond Jubilee commemorative dessert service, Goldsmiths & Silversmiths Co. (William Gibson & John Lawrence Langman), London 1896, cast design with Royal Arms, profile portrait and cypher, comprising six spoons, folks and knives, the latter with filled handles, 20ozs weighable, cased.
Los 274
Wilhelm Hoffert, a pair of miniature portraits painted on ivory possibly over a print foundation, Albert McGill, head and shoulders length, oval, 7.5x6cm, and a lady, head and shoulders length wearing a tiara, 7.5x6cm, both signed, ebonised cushion frames, a miniature portrait painted on ivory, Isaac Piggott, head and shoulders length, 9x7cm and three other painted portrait miniatures, in ebonised frames, and two brass easel back photograph frames, (8).
Los 123
Two small boxes of ceramics including a Conta & Boehme dish formed with an outstretched cherub reclining forward, two Minton and Hollings dishes of elaborate shape with decoration in the Chinoiserie style accented in gilt and a plate with handpainted portrait under the glaze of "Bianca Viscounti" emulating Renaissance maiolica pottery, (9)
Los 219
10th-12th century AD. A glass rectangular plaque with rounded edges, gold portrait panel of Christ with wavy hair and detailed nimbus, pectoral disc medallion. 142 grams, 12cm (4 3/4"). Property of a London lady, part of her family's Swiss collection; formerly acquired in the 1980s. [No Reserve] Fair condition, repaired.
Los 163
1st-2nd century AD. A onyx cameo portrait bust of a young female wearing a chiton, her hair dressed in a chignon, laurel-leaf wreath to the brow; set into a later gold pendant with ribbed loop. 11.8 grams, 34mm (1 1/4"). Property of a Bristol collector; formerly part of his father's collection formed between 1960-late 1970s. Fine condition.
Los 640
1642 AD. A silver cast and chased badge of Robert Devereux, Earl of Essex, by Thomas Simon (or Thomas Rawlins?), bifacial with obverse portrait bust of the Earl of Essex turned slightly to left, and to the reverse an oval garnished shield of Essex, surmounted by coronet; Platt II, type G. See Medallic Illustration 299/119; Platt p.202. 4.76 grams, 30mm (1 1/4"). Property of a Nottinghamshire collector; believed the property of Caroline Penman, before September, 1998; accompanied by two extracts from previous auctions, lots 258 and 1250. Essex became Commander-in-Chief of the Parliamentary forces in the Civil War before being displaced in 1645. Badges of several types and varieties bearing his image were presented to various ranks in the army. The grandson of Francis Walsingham, the Principal Secretary and 'spymaster' of Elizabeth I, as well as the son of Elizabeth's favourite, Robert Devereux figured prominently in the First English Civil War. At its outset, he became the first Captain-General of Chief Commander of the Parliamentarian army, known as the 'Roundheads.' However, unable and unwilling to defeat the Royalist forces during the Lostwithiel Campaign in 1644, Devereux became overshadowed by the ascending Oliver Cromwell and, less than six months after resigning from his commission, died without an heir in 1646. Fine condition.
Los 449
Late 2nd century AD-early 3rd century AD. Another 'hauntingly unforgettable work of art', with distinct artistic parallels to the famous Crosby Garrett helmet found in Cumbria in 2010; a bronze sports helmet mask of the exceptionally rare Mater Castrorum or female type, showing the head of an Amazon warrior or goddess with locks of wavy hair, topped with a tutulus hairstyle, diadems, garlands and other jewellery; the garland-diadem has a central knot with two hanging curls and is decorated with X-patterns inscribed inside rectangles; this mask was removable, being capable of being taken off at any time, proving that this type of helmet could be used not only during parades and other ceremonies, but also in combat. Property of a London collector; previously in the Craddock collection having been acquired from a London gallery in 2006; formerly in the Brian Grover collection of Surrey since acquisition in York in the 1970s; formerly in the collection of Peter Minns; believed originally from Northern England; accompanied by a copy of a signed acquisition and provenance declaration/receipt dated 23 May 2005; a sales invoice to A. L. Craddock from 2006; a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 609/131084; an academic report by military specialist Dr Raffaele D'Amato who will be making a presentation on this helmet at our reception on 2nd September 2019; and a report by the conservation specialist who restored the helmet, discussing the similarities of style and workmanship to the 'Crosby Garrett' helmet, which concludes that it is likely made by the same craftsman, or at least from the same workshop; accompanied by an Art Loss Register certificate no. S00149981. Published: Illustrated on the front page of Antiques Trade Gazette, 31 August 2019, Roman mask leads antiquities parade, with further editorial on pages 32 & 33 entitled Mask 'matches Crosby Garrett find'. 580 grams, 26 x 24 cm without stand (10 1/4 x 9 1/2"). See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; James, S., Excavations at Dura Europos 1928-1937, Final Report VII, The Arms and Armour and other military equipment, London, 2004; D'Amato R., A.Negin, Decorated Roman Armour, London, 2017. The two most evident samples resembling our specimen are the mask of Nola, today at the British Museum, and the mask of the Paul Getty Museum (D'Amato-Negin, 2017, p.220, fig.255 letters d-e). Maybe, as the facial mask from Nola, our mask depicts a goddess, Minerva or Victoria or Diana. This goddess is well suited to being depicted on protective arms since, unlike Mars, who loved blood, war and violence in any form, Minerva represented sacred defensive war and was the goddess of defence, symbolising the protection and patronage granted to the soldier. The stylistic type of the mask suggests that it is from the same school who made the masks of Nola (Italy?) and of the Paul Getty Museum (Syria or Egypt?). The similarity with the latter is astonishing, and like in the one of the Getty, the empty spaces of the diadem were probably originally encrusted with precious stones. This mask helmet belongs to the category of Roman mask helmets usually employed in the sportive games, acting also as military training, of the so called Hyppika Gymnasia described by Arrian of Nicomedia in his Taktika, written down during the age of the Emperor Hadrian (117-138 AD). The finds of two opposed ‘male’ and ‘female’ kind of masks in the military camp of Straubing, together with items of arms and equipment of opposing teams which performed a theatrical cavalry tournament, allowed to understand that the two groups performed, in their exercises, the mythical fight amongst Greeks and Amazons. This theatrical Amazonomachy was popular among Roman soldiers as evidenced by the fact that it is depicted on one of the three oval shields of the third century AD from Dura Europos (James, 2004, pl.VII). The representation of an Amazonomachy scene was not only a tribute to mythological tradition. In warfare, time after time the Romans encountered women fighting against them: Flavius Vopiscus wrote that women dressed in male attire (apparently, Sarmatian women warriors) used to fight against the Romans on the side of the Goths even in the late third century AD (Scriptores Historia Augusta, Divus Aurelianus, XXXIV, 1). Therefore, the imitation of confrontation with these militant women might be quite popular for theatrical cavalry tournaments, as well as for the visualisation of mythological scenes (D'Amato-Negin, 2017, p.213). A. Negin, however, was able to individuate three different types of such female masks used in such tournaments and probably also on the battlefield: the ‘Amazon’ type, the ’Mater Castrorum’ type, and the ‘Medusa’ type. Our specimen belongs to the Mater Castrorum type. E. Künzl (2008, pp.115-117) noted the similarity of some masks with images of soldiers’ empresses of the third century AD and suggested their relationship with the cult of mater castrorum (mother of the camp). It is commonly known that, besides civilian titles, an empress received this honorary title for her participation in military campaigns, like Faustina the Younger or Julia Domna (D'Amato-Negin, 2017, p.222). Examples in this group of masks date from the second half of the second to the first half of the third centuries AD. It was not necessary to make an exact copy of the portrait of a woman of the imperial family, it was sufficient to have a few distinguishing features on an item and achieve a general resemblance. According to J. Oliver, celebrations in the calends of January (Kalendae Ianuariae), as marked in the military calendar from Dura-europos (Feriale Duranum), namely 1 January, were intended to honour and bring sacrifices to the mother patroness of the military camp (mater castrorum). Negin assumed that during the solemn and theatrical ceremonies, masks of this type could be worn by the celebrant representing the divine patroness of military camps and performing games in cavalry tournaments. The relationship, at least, of a number of female masks to the cult of mater castrorum partly explains the fact that Arrian in his treatise on cavalry tournaments mentioned nothing about masks depicting female faces, as Faustina the Younger was awarded this title forty years after this source had been written. Putting on the attributes of a different gender identity, male soldiers impersonated women both in theatrical performances of Amazonomachy and in ceremonies honouring the ‘mother of the camp’. Very fine condition, an exceptional survival from Roman Britain. Excessively rare. [A video of this item is available to view on TimeLine Auctions website.]
Los 589
1460-1685 AD. A gold hat jewel with a facetted amethyst in a pierced yellow gold mount with dentilled plaque to the reverse and twisted wire rim with four peripheral loops; the jewel symbolising the 'sun in splendour' (the personal emblem of King Edward IV), with three chain drops below (originally mounted with pearls"). Disclaimed under the Treasure Act, reference number 2013 T466. Recorded with the Portable Antiquities Scheme under reference DENO-65C775. 5.24 grams, 36mm (1 1/2"). Found by Lisa Grace near Horncastle, Lincolnshire, UK, while metal detecting on 1st June 2013; declared a treasure under the Treasure Act (officially valued at £6,000.00) and disclaimed with reference number 2013 T466; accompanied by a copy of a letter from the British Museum disclaiming the Crown’s interest; a copy of the Portable antiquities Scheme report number DENO-65C775; a copy of a magazine article titled Lincolnshire’s Lost Jewel, by Helen Cox in Lincolnshire Life, April 2014, p.116-118; and a copy of the relevant pages in the PAS publication 50 Finds from Hampshire, 2017 detailing the find. On 2nd February 1461, the houses of York and Lancaster fought at the Battle of Mortimer's Cross in Herefordshire. As dawn broke, three suns appeared in the morning sky. This was a rare meteorological phenomenon called a parhelion caused by ice crystals in the atmosphere. Edward, the Earl of March, told his men this was a sign from God representing the Holy Trinity and was proof that God would lead them to victory. The Yorkists were victorious that day and Edward was proclaimed king a month later, after which he adopted the Sunne in Splendour as his personal emblem. The fact that the Sunne in Splendour features as the central motif in this extremely rare, high-status hat jewel suggests that it belonged to a courtier from the House of York. This remarkable piece of medieval jewellery may be compared to a roundel pendant from the Fishpool hoard and it is strikingly similar to a hat jewel worn by Henry VII, the son-in-law of Edward IV, in a portrait in the collection of the Musée Calvet, France. During the medieval period amethysts were worn into battle, because it was believed that they protected the wearer from harm. The colour of the stone also has royal connotations. The British Royal Sceptre, first used for the Coronation of James II (1633-1701) is adorned with an amethyst terminal surmounted by a cross. Testing of the jewel indicates a gold content of 72.4% by the X-ray fluorescence analysis. Fine condition. An excessively rare and important treasure find.
Los 458
Mid 10th-early 11th century AD. A long double cutting Sword, the blade finely tapered and beautifully proportioned, thin in section with an ovoid transition type pommel; the blade carries its central fuller on each side, occupying about half of the blade width; the tang is of remarkable robust character, in such a way giving great strength to the hilt which is characterised by a strong cross-guard. See J Oakeshott, R.E., Sword in the Age of Chivalry, London,1964; Römisch-Germanischen Zentralmuseum Mainz, Das Reich der Salier, Sigmaringen, 1992; Peirce, I., Swords of the Viking Age, Suffolk, 2002; Aleksi?, M., Mediaeval Swords from Southeastern Europe, Material from 12th to 15th Century, Belgrade, 2007; the sword finds good parallels in various similar late 10th - early 11th century age specimens; a very similar sword can be found in the Glasgow museum (Oakeshott, 1964, pl.IC), and two very similar models although with inscriptions are published by Peirce in his valuable work (Peirce, 2002, pp.122-125); this kind of sword found also parallels in models coming from the territories of the Holy German Roman Empire of the Salii, like a sword of unknown provenance preserved in Komarno (Bohemia), and dated at the turn of 11th - 12th century (Römisch-Germanischen Zentralmuseum Mainz, 1992, p.105 cat. 20,3, fig. p. 103); but more astonishing is the representation of such sword in the hands of the Imperial Spatharius of Otto III, visible on the double page opening of the ruler portrait of Otto III (f.24) and the accompanying image of provinces bringing tribute (f.23v) miniaturised in the Gospels of Otto III (Munich, Bayerische Staatsbibliothek, Clm.4453), this suggests that the sword could have been realised with all probability in the Imperial German Workshops, although the distribution is visible throughout Western Europe; a sword from Croatia, found near Kupa (near Karlovac, Western Croatia) shows a similar pommel and fullers, although also this sword presents inlaid decorations on the blade (Aleksi?, 2007, cat.342 pl.11,1"). 1.29 kg, 90.5cm (35 5/8"). Property of a Suffolk collector; formerly acquired on the European art market in the 1990s; accompanied by an academic report by military specialist Dr Raffaele D'Amato. Blade and handle are so well preserved that this sword could be drawn from its scabbard and used in battle even today. Most probably our specimen is coming from a battlefield or from a river. The cutting edges show evidences of the sword being used in battle. Fine condition.
Los 149
1st century AD. An elliptical carnelian cloison with intaglio portrait profile bust of a young female, set in a hollow-formed gold ring. Cf. Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 142. 3.87 grams, 29.08mm overall, 19.53mm internal diameter (approximate size British R 1/2, USA 8 3/4, Europe 19.38, Japan 18) (1"). Property of a Bristol collector; formerly part of his father's collection formed between 1960-late 1970s. Fine condition.
Los 835
PAINTINGS AND PRINTS to include 'Street Guitarist' by F W Skinner, portrait of a Busker, watercolour, framed, approximate size 40cm x 21cm, a pair of colourful watercolours of Irish Musicians, signed Pasquetti, framed, landscape, watercolours by Ken Topman , pair of prints by Eva Hollyer, watercolour of a Waterfall by F Bainbridge and a limited edition screen print, indistinctly signed (9)
Los 14
Madeleine Bunbury Gregorian Acrylic on canvas 90 x 90cm (35¼ x 35¼ in.) Owned by HRH Princess Haya of Jordan and trained by John Gosdon and was then stood at the National Stud, Newmarket Similar works by this artist retail at: £5000 Madeleine Bunbury: Born in 1995 - Mustique Island, St.Vincent and the Grenadines. Educated in Dorset and trained in traditional portraiture for three years at Charles Cecil Studios in Florence, Italy. Madeleine concentrates on painting horses life size in a traditional style, always from life, using her own hand ground paints and hand stretched canvases. This style helps her to achieve an expressive representation which is unparalleled by modern photo or realistic paintings. Over the past four years she has been working on commissions around Europe and America, travelling to wherever the horse is living. Possibly her most exciting commission, to date, has been a portrait of all 12 polo ponies belonging to HRH The Duke of Cambridge, which is now hung at Kensington Palace.
Los 16
Thomas Leveritt Dawn String Watercolour on cotton paper 34 x 45cm (13¼ x 17½ in.) Similar works by this artist retail at: £750 Thomas Leveritt: Thomas Leveritt is an award-winning portrait painter, novelist and film-maker, whose diverse artistic output is united by his irreverent, intelligent and inventive voice. His ‘interference’ work grew organically from his oil painting practice, but it most closely resembles the progressive scan of his digital film work. In each artwork the tonal ingredients are placed in an exact proximity so that they mix visually in the journey from artwork to viewer, creating an illusion that hovers between the abstract and the figurative.
Los 27
Ruaridh Lever-Hogg Highland cow; Stag; Ram; Scottie dog Mixed media on card Each signed Each 17.7 x 12.8cm (6¾ x 5 in.) (4) Similar works by this artist retail at: £100 Ruaridh Lever-Hogg: Ruaridh is a Deaf artist and born and brought up in the Highlands and attended Mary Hare between 2009 and 2011. He has run workshops to teach art in Deaf communities and Deaf organisations and at the National Portrait Gallery in Edinburgh. Ruaridh was a participant in the TV show- Big Painting Challenge 2017, overcoming the barriers of communication between Deaf and hearing. Ruaridh's work over the past year has involved using tartan fabric as his canvas for oil paintings of people and animals. He blends his subjects into the background of the tartan revealing the individuality of his subjects.
Los 25
Jonathan Yeo Cara Study I, 2016 Archival Pigment Print With Hand Finished Varnish On Hahnemuhle Photo Rag Ultrasmooth Paper With Torn Edges.From the edition of 50 42 x 42cm (16½ x 16½ in.) Similar works by this artist retail at: £2,220 Jonathan Yeo: Jonathan Yeo (b. London, 18 December 1970) is one of the world’s leading figurative artists. He has painted and worked with iconic and celebrated figures including Sir David Attenborough, peace activist Malala Yousafzai, actors Dennis Hopper, Nicole Kidman and Idris Elba, artists Damien Hirst and Grayson Perry, supermodel and actor Cara Delevingne, Baroness Doreen Lawrence, former Prime Minister Tony Blair, and has produced official commissions of HRH The Duke of Edinburgh and HRH The Duchess of Cornwall which now hangs at Clarence House and within the Royal Collection. His work has been exhibited widely in museums and galleries around the world and has been the subject of several major mid-career retrospectives in the UK and internationally. Entirely self-taught, Yeo rose to prominence as a figurative painter by the age of thirty following several major official commissions, such as that of the former British Prime Minister Tony Blair, at a time when painting generally, and portraiture in particular, had fallen out of fashion. His collage of George Bush in 2007, however, earned his reputation as someone known for both traditional and experimental portraiture. Along with his Collage Series, Yeo has explored more conceptual themes in his series of paintings looking at cosmetic surgery and increasingly his portraits are addressing wider concepts and themes within the paintings’ narrative. His 2013 first mid-career retrospective at the National Portrait Gallery in London was acclaimed by the critics and public alike, and was accompanied by a major monograph and a BBC1 Culture Show special. The exhibition then toured in 2014 to the Lowry in Salford and the Laing Art Gallery in Newcastle-Upon-Tyne. In 2016 he collaborated with Smithsonian National Portrait Gallery in Washington DC, where he unveiled a portrait of Kevin Spacey in his role as President Underwood, from the Netflix series House of Cards. Later that year he had his largest retrospective to date at The Museum of National History at Frederiksborg, in Denmark. In early 2016 Yeo began experimenting with 3-D printing and scanning in order to make self-portraits and has also been working with various tech companies to help develop ground-breaking virtual reality drawing software. In December 2017 he unveiled his first ever large-scale sculptural work, made using an innovative combination of these new processes at London's Royal Academy of Arts. The first ever institutional solo show of Yeo's Surgery Series opened early 2018 at the Bowes Museum in County Durham. Yeo has emerged as one of the foremost pioneers of figurative painting in Britain. His career as a painter has seen him confront a multitude of different narratives and themes. Content ranges from how we consume and discuss imagery, the modern day obsession of social media, actor’s in character, the pervasiveness of pornography, cosmetic surgery and societal portraiture. The appropriate personality to use as subject is decisive and Yeo uses them as a vehicle to explore the study of physiognomy, whilst simultaneously tackling often complex narratives and ongoing themes. Mette Skougaard, Director, Museum of National History, Denmark, said Yeo is “a pivotal force in the revitalisation of figurative art in general and in the art of portraiture in particular.
Los 10
Olivia Baynham Still life with bread, tomatoes and candelabra Oil on board Signed lower right 30.5 x 40.5cm (12 x 15¾ in.) Similar works by this artist retail at: £500 Olivia Baynham: Olivia is a portrait and figurative artist. Olivia was born in London in 1994, and brought up in Hampshire. After leaving school at 18, she studied an art foundation at City and Guilds in London. Once she had graduated, she decided she wanted to develop her draftsmanship skills further and attempt a more rigorous training method in Florence, Italy. Olivia studied traditional portraiture in Florence for four years at Charles Cecil Studios. Here, she learnt the old masters technique called the 'sight-size method' whereby you measure and observe the model from a distance and to the scale of life, painting under natural light. Masters, such as John Singer Sargent and Sir Thomas Lawrence, used this technique whilst its origins lie in the practise of Van Dyke, Velasquez and Titian. She is now living in London and has a studio in Barons Court. Olivia is accepting portrait, nude and still life commissions.
Los 624
After Thomas Gainsborough, a 19th century framed needlework portrait of a lady in a garden landscape leaning against a Classical pillar. An inked label to the rear names the sitter as Honourable Mrs Graham, daughter of the Right Honourable the Earl of Cathcart and wife of Thomas Graham, Condition report intended as a guide only.Picture in good condition. Minor piece of loss to the frame.
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283284 Los(e)/Seite