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Los 447
Late 1st-early 2nd century AD. A bronze 'Kostol Type' sports helmet mask with strong realism, 'Type A' of the Robinson classification of cavalry sport helmets (Robinson, 1975, pl.309, p.112), showing the portrait of a youthful African male, possibly that of the Mauri Prince, Lusius Quietus; with broad forehead, high cheekbones, short, wide nose with wide mouth and small, pierced almond-shaped eyes; locks of hair on the head in a series of semi-circular bands; rear edge of mask pierced for attachment of the leather lining; the wide eye-holes terminate with flanges representing the eye-lids; traces of burning are visible on the forehead, nose, around left eye and right cheek. See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; D'Amato R., Negin, A., Decorated Roman Armour, London, 2017; the mask helmet finds a good parallel in the Kostol helmet (Garbsch,1979, pl. 23,3), although differs for the kind of portrait; it belongs to the category of Roman mask helmets usually employed in the sportive games, acting also for military training, of the so called Hippika gymnasia, well described by Arrian of Nicomedia in his Taktika, written down during the age of the Emperor Hadrian (117-138 AD); mask helmets were produced in all of the Empire until at least the late 4th century AD, they were however also destined to be worn in real combat, as shown by the gravestone of Flavinus at the Hexham Abbey (Robinson, 1975, pl.307, p.106; D'Amato-Negin, 2017, p.150, fig.158), and Sextus Valerius Genialis at Cirencester (D'Amato-Negin, 2017, p.82, fig.78); the 'Type A' to which the mask belongs, is extremely rare, and it shows mask helmets still strongly influenced by the Hellenic taste; the face and the hair are treated with strong realism, in a extremely naturalistic manner, different from the classical form seen in the similar helmets of Alexander Typology; as supported by Robinson these category of helmet was probably realised by artists trained as sculptor specialists in portraiture; however, differently from the Kostol helmet in which the whole skull acts also as a bowl, here the mask was destined to be attached to a second part, in a similar way to the other well known portrait helmet mask known from Stockstadt (Garbsch,1979, pl.20,3), and to the masks of 'Alexander Type' (D'Amato-Negin, 2017, pp.194"). 1.59 kg total including stand, 29cm without stand (11 1/2"). Property of a South London collector; previously in a German collection prior to 1980; accompanied by an academic report by military specialist Dr Raffaele D'Amato, and by a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, number 93511. Most probably this specimen is from a grave of a soldier or military commander. The helmet is hemispherical and imitates abundant curly hair which is made in a realistic fashion. In addition, the helmet is unusual due to the fact that its design and appearance demonstrate a combination of several traditions in manufacturing of military headgear, like the Kostol one. The bottom edge of the helmet could be also bent in the form of a hem and have a continuity of holes intended either to attach the lining, or to suspend some sort of neck protection in the form of a lamellar or scale aventail, which is not typical of Roman helmets, worn in the Roman army only by soldiers of Eastern auxiliary units. The mask portrait is the one of a young Dipartimento Studi Storici università di Ferrara Pagina 2 African prince, or man, in an age in which Africans (Numidians) were highly considered in the Auxilia military forces serving under Trajan and Hadrian. It should well be remembered the important tasks accomplished by the Mauri of Lusius Quietus during the Trajanic wars against the Dacians, and also during the repression, in the last years of the Trajan's Empire, of the Jewish revolt in the so-called Kitos war (116-118 AD"). We cannot exclude that the mask was destined to a member of his family, or to a portrait of the Prince himself, considering the similarity of this portrait with the presumptive image of Quietus on Trajan's Column (Cichorius, scene LXIII"). According to Arrian of Nicomedia, a Roman provincial governor and a close friend of Hadrian, face-mask helmets were used in cavalry parades and sporting mock battles called hippika gymnasia. Parades or tournaments played an important part in maintaining unit morale and fighting effectiveness. They took place on a parade ground situated outside a fort and involved the cavalry practising manoeuvring and the handling of weapons such as javelins and spears. Parades would have taken place at several times in the year, especially at religious festivals and on days marking the birth, and accession to the throne, of the Emperor. Hippika gymnasia were colourful tournaments among the élite cavalry wings of the army, the alae. Both men and horses wore elaborate suites of equipment on these occasions, often in the guise of Greeks and Amazons. Calvary helmets were made from a variety of metals and alloys, often from gold-coloured alloys or iron covered with tin. They were decorated with embossed reliefs and engravings depicting the war-god Mars and other divine and semi-divine figures associated with the military. [A video of this item is available to view on TimeLine Auctions website.]Very fine condition, minor restoration and edge loss. Excessively rare.
Los 17
A Leeds Art Pottery circular cameo portrait plaque. Depicting the head of Cleopatra in profile against a mottled ochre ground and impressed Webb & Co. Leeds Faience. Impressed mark to the reverse, 35.5cm diameter. Provenance; The F. C. Upton collection.Condition report intended as a guide only.Crazed. No chips, cracks or repair.
Los 532
* BRUCE TIPPETT (BRITISH 1933 - 2017), LANDSCAPE WITH REEDS charcoal on paper, signed and dated 14.03.58 42cm x 53cm Mounted, framed and under glass. Artist labels verso. Note: Bruce Tippett was a British born artist who was championed by Philip Granville (Lord's Gallery, London) and the legendary Betty Parsons (Betty Parsons Gallery, New York) and others. Jane England writes in her 1992 catalogue : "[In 1957], he […] saw Japanese brush paintings for the first time at the British Museum [which now houses nine Bruce Tippett drawings]. He recalls now that 'Something awoke in me and I entered another realm'. The works of the Japanese calligraphers inspired him by their mixture of spontaneity and contemplation. Like the Zen masters, Tippett achieved spontaneity by constantly paring down the image and concentrating on its essential spirit, with no sign of the struggle involved. When Tippett first saw a work by Hartung at Gimpel Fils in May 1958, he was struck by the similarities of their respective calligraphic styles. These similarities had different origins. In Tippett's case the energetic strokes and lines came from his early drawings of reeds and stakes in marsh landscapes and the studies he had made of building structures, whereas Hartung's expressive calligraphy came from his early experiments with automatism." Alan Bowness pointed out in his "Portrait of the Artist" (1958) that "having made the first steps on his own Tippett realized that the calligraphic paintings of Hartung pointed in the direction he wished to go […] but by the end of 1957 Tippett had reached something that was recognizably an original manner, and the drawings done then and at the beginning of this year have a remarkable ease and assurance." After Peggy Guggenheim closed her Art of This Century gallery in 1947, Parsons was one of only a very few gallery owners to promote avant-garde American art at a time when the commercial demand for it was minuscule. The Betty Parsons Gallery was also, for a considerable time, the only gallery in the US which promoted and supported Abstract Expressionism. Parsons played a major and significant role in establishing New York as the centre of the art world and Jackson Pollock, Mark Rothko, William Congdon, Clyfford Still, Theodorus Stamos, Ellsworth Kelly, Hedda Sterne, Forrest Bess, Michael Loew, Lyman Kipp, Judith Godwin, Tony Smith, Robert Rauschenberg, Barnett Newman and many other artists owed much to Betty Parsons. Bruce Tippett first visited New York in 1965 when Dorothy Miller bought one of his paintings for MOMA. He met Parsons at the Venice Biennale in 1966 and immediately afterwards she visited his studio in Rome and bought several paintings and drawings for her gallery. Bruce Tippett exhibited regularly at The Betty Parsons Gallery from 1967 and had his last solo show there in 1981, the year before Betty died. Bruce Tippett continued to exhibit in the US and the UK and even more frequently in Italy and France. He died in France in 2017, where he had lived and worked since 2005. His work is held in some of the most important collections in the US and Europe including The Louvre (Paris), The British Museum (London), Galleria Nazionale d’Arte Moderna (Rome) and MOMA (New York), yet in his country of birth, his work remains relatively unknown.
Los 553
* GORDON K MITCHELL RSA RSW RGI (SCOTTISH b 1952), CATALONIAN ROMANCE oil on canvas, signed 100cm x 85cm (approx 40 x 33 inches) Framed. Label verso: Roger Billcliffe (Gallery), 134 Blythswood Street, Glasgow. Note: A major solo show of Gordon K Mitchell's work is currently being staged by the prestigious Roger Billcliffe Gallery, Glasgow (26th April - 28th May) where paintings of this size are priced at approximately £10,000. Prizes and Awards include: Borders Biennial Exhibition; First Prize, City Arts Centre, Open Exhibition; First Prize, Educational Institute for Scotland; Purchase Prize, Glasgow Mayfest Award, Royal Scottish Academy Award; First Prize, Royal Scottish Society of Painters in Watercolour; William Gillies Award, Scottish Drawing Competition, Paisley; Second Prize, Royal Scottish Academy; J. Murray Thompson Award, Scottish Artists and Artist Craftsmen; Arts Club Prize, Scottish Artists and Artist Craftsmen; Whyte & Mackay Award, Scottish Artists and Artist Craftsmen; Scottish Provident Award, Scottish Artists and Artist Craftsmen; Dunfermline Building Society Prize, Scottish Artists and Artist Craftsmen; SSWA Special Award.Solo Exhibitions : Dorothy Quinn Gallery, St. Andrews, Henderson Gallery, Edinburgh, Old City Art Gallery, Jerusalem, Traverse Theatre, Edinburgh, Open Eye Gallery, Edinburgh (biannually since 1992), Roger Billcliffe Fine Art, Glasgow (biannually since 1993), Atholl Gallery, Dunkeld (1993) Albemarle Gallery (biannually since 1997). Represented in Group Exhibitions in the United Kingdom, including:Allan Park Gallery, Stirling, Atholl Gallery, Dunkeld, Borders Biennial Exhibition, City Arts Centre, Edinburgh, Contemporary British Art Show, London, Contemporary Fine Art Gallery, Fine Art Society Galleries, Glasgow, Gracefield Art Centre, Dumfries, Hilton Hotel, Hong Kong, John Martin of London, Kirkcaldy Art Gallery, Mall Galleries, London, Morrison Scottish Portrait ExhibitionOpen Eye Gallery, Edinburgh, Paisley Art Institute, Portland Gallery, London, Richard Demarco Gallery, Edinburgh, Roger Billcliffe Fine Art, Glasgow, Royal Glasgow Institute, Royal Scottish Academy, Edinburgh, Royal Scottish Society of Painters in Watercolour, Scottish Arts Club, Edinburgh, Scottish Arts Council Gallery, Smith Art Gallery & Museum, Society of Scottish ArtistsSociety of Scottish Artists and Artist Craftsmen, Stirling Gallery, Talbot Rice Gallery, Edinburgh Group Exhibitions held abroad: Through the `Old City Gallery` Jerusalem, paintings have been included in group exhibitions in Israel, Australia, Canada, U.S.A. and Sweden. Blue and White Gallery, Jerusalem, Contemporary Scottish Art 1994, Hilton Hotel, Hong Kong Collections:Works held in a great many private and public collections, including; Alliance & Leicester Building Society, Edinburgh Distillers Co. Ltd, Edinburgh College of Art, Educational Institute for Scotland, Johnny Walker Whisky Co, Kansas City Art Institute, Macfarlane Group Plc, National Westminster Bank, Paisley Art Institute, Scottish Arts Council, Scottish Brewers Limited, Slottseal Forthside Limited, The Knesset, Israel, University of Edinburgh, Welcome Inns, Whyte & Mackay Group.
Los 606
* NEIL SHAWCROSS MBE RHA RUA (b 1940 - ), TELEPHONE mixed media on paper, signed and dated 2013 42cm x 54cm Mounted, framed and under glass. Note: Neil Shawcross was born in Kearseley, Lancashire in 1940. He attended Bolton College of Art between 1958-60. After a brief period of part-time teaching in Lancaster and at Morcambe Grammar School, he came to Belfast in 1962 as a part-time lecturer at the College of Art. He has remained in Ulster ever since, and teaches foundation studies at the Art and Design College. Shawcross` gentle childlike approach has won him many admirers, and his work has been influential on many of his past students. He became an associate of the Royal Ulster Academy in 1975 and an Academician in 1977 and has been awarded several Gold Medals. Shawcross was commissioned by the Ulster Museum for a portrait of the novelist Francis Stuart in 1978. In 1979 he was commissioned to paint the portrait of Alderman David Cook for the series of Lord Mayors in Belfast City Hall. He has designed stained glass for the Ulster Museum and for St Colman`s Church, Lambeg. Shawcross’ work is represented in a number of private and corporate collections and his new works are eagerly sought after by collectors both in Ireland and abroad.
Los 159
A DIAMOND AND GOLD BELT BUCKLE AND BELT BY HEDY MARTINELLIEach side of the wavy rectangular gold buckle containing a hardstone stone cameo portrait within a border of circular-cut white diamonds and diamonds of brown tint, mounted in 18K gold, with similarly-cut diamond clasp, to a thick fancy-link chain belt, diamonds approx. 6cts total, length 101cm, contained within maker's caseHedy Martinellis is a contemporary Italian jewellery designer based in Rome, Italy. She is known for her unique bold statement pieces which are handmade using a range of precious stones as well as unconventional material, such as steel or iron. As in the case of this lot, she regularly combines the use of precious stones with harsher materials, balancing the delicate white and brown diamonds with the net-like chain of the belt to create a very unique avantgarde look.
Los 400
LOUIS-MARIE AUTISSIER (1772-1830)Portrait of Henri Frederick Alston, 6th Son of Thomas Alston of Odell, born January 23rd 1790Watercolour on ivory, 12 x 9.8cmSigned, inscribed and dated 'Paris 1817'Contained in an engine turned gilt brass frame** Please note that this lot contains ivory and is subject to CITES regulations when exporting outside of the EU. The United States Government has banned the import of ivory into the USA.**
Los 694
Attributed to Thomas Beach, (1738-1806), half-length portrait of a gentleman, wearing a powdered wig and waistcoat, oil on canvas, 74 x 59cm. Provenance: by descent from a Suffolk Family and the sitter may be a member of the Beach family, bearing a paper label for Frost & Reed to the reverse. Thomas Beach was a portrait painter from Dorset and was said to be a favourite pupil of Sir Joshua Reynolds, after becoming a pupil in 1760
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283287 Los(e)/Seite