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283287 Los(e)/Seite
Los 604
A Small Gilt Metal D-shaped Jewellery Box and a Pair of Spring Loaded Lorgnettes with gilt wire frames and an 'amber' coloured handle, 7 ins (18 cms) in length. The box having a hinged lid edged in ropetwist and inset with a painted portrait bust of an 18th century lady dressed in finery, 1 inch (2.5 cms) deep, 2½ ins x 2½ ins (6.5 cms x 6.5 cms).
Los 11
A Small Oval Berlin KPM Porcelain Portrait Plaque of Beatrice Cenci (1577-1599) depicting the young Roman noblewoman wearing a white turban over long blond curled hair, impressed scepter over KPM on reverse, 3½ ins x 2¾ ins (9 cms x 7 cms), in a carved Florentine giltwood frame of open scrolling foliage, 8 ins x 6¼ ins (20 cms x 16 cms).
Los 277
Four Pieces of Decorative China: A Noritake Ovoid Vase ornamented with oval panels of floral bouquets on bands of apple green & gilt embellished with tiny raised enamelled beads, 8½ ins (21 cms) high. A Maling lustre glazed bowl; the black centre panel and borders decorated with cornucopias of fruit on a blue sponged glaze ground, 3¾ ins (9.5 cms) high, 8¼ ins (21 cms) in diameter. A Continental pedestal bowl modelled in the form of a boat shaped vessel with dragon prow ridden by a cherub and nymphs upon the stern, 11 ins (28 cms) high, 12 ins (30 cms) in width. And a Vienna jar with portrait roundel on a deep blue ground, and a mismatched lid, 9½ ins (24 cms) in height.
Los 279
A Collection of Ornamental China: A Royal Crown Derby 3¾ ins (9.5 cm) Urn, tooth pick vase, coffee cup & saucer. A Minton's cup & saucer pattern No 776 date mark for 1808. A pair of Rosenthal cabinet plates with portrait panels in bleu-de-roi borders enriched with gilding, 10 ins (25.5 cms) in diameter. A Spode deep blue glazed plate with gilt rim and small enamel sprigs of flowers and an insect. A Coalport urn & cover painted with scenic panel 8½ ins (22 cms) high. A Royal Worcester coffee cup, saucer & creamer, another Royal Worcester coffee can & saucer. A toy cup & saucer by Spode and a miniature mug by Coalport.
Los 114
Lucania, Metapontion AR Stater. Circa 340-330 BC. Head of Athena Tharragoras right, wearing Corinthian helmet, Σ behind / Ear of barley with stalk and leaf to right upon which, trophy; Π below, META to left. Johnston A 7.13 (obverse) – A 7.15 (reverse); HN Italy 1567. 7.85g, 22mm, 6h. Extremely Fine. Very Rare (only one example recorded by Johnston), particularly so in this condition, and an apparently unrecorded die coupling. Ex Dr. Roland Maly Collection, LHS 100, 23 April 2007, lot 115. The obverse portrait of this coin is traditionally identified as the unknown hero Tharragoras, following the attribution by Imhoof-Blumer. In studying the available specimens of the type (of which there were then five), he noted two with visible legends, one reading 'ΘAPPAΓOPAΣ', which he illustrated in his 'Monnaies grecques' (pl. A,2). Noting also that the portrait on this coin was 'slightly bearded', Imhoof-Blumer concluded that it therefore was not Athena, but rather an unknown hero whose name was given on the coin, and who must have been a companion or relation of Leukippos, given the contemporary nature of the two issues and the importance of the Leukippos type. That the name Tharragoras is nowhere else attested, neither in literature, sculpture nor on other coins, makes Imhoof-Blumer's identification of this portrait as an unknown hero by that name very difficult to support indeed. Strabo, who does acknowledge Leukippos (6.1), makes no mention of a Tharragoras; the 'slight beard' seen by Imhoof-Blumer is almost certainly in fact locks of hair that fall from beneath the helmet. No trace of a beard can be discerned meanwhile around the chin or jaw. Where Imhoof-Blumer inferred a connection with Ἄρρα, or Ares, we should perhaps more properly see a connection with a 'dialectic form of Θάρσω, a more ancient name for the goddess Athena (schol.IL.5.2).' 'Θάρρά' itself has connotations of 'courage', 'boldness' or 'confidence' - the intended meaning here must have been clear to the people of Metapontion and fitting for the circumstances of its issue. The companion issue (Johnston A6.11 = HN Italy 1561) allows us to positively identify the portrait as that of Athena, on account of the long feminine eyelashes that would certainly be out of place on a male hero.
Los 373
Kings of Thrace, Lysimachos AR Drachm. Ephesos, circa 294-287 BC. Diademed head of the deified Alexander the Great right, wearing horn of Ammon / Athena Nikephoros seated left, left arm resting on rim of shield, transverse spear in background, E-Φ with bee between to inner left; BAΣIΛEΩΣ to right, ΛYΣIMAXOY to left. Thompson 168; Müller 421. 4.33g, 19mm, 12h. Fleur De Coin. A specimen of remarkable quality and style possessing radiant golden tones around the obverse portrait, and deep violet hues on the reverse. This high relief coin easily ranks among the finest known drachms of Lysimachos. From the Ambrose Collection.
![Crete, Aptera AR Stater. Signed by Pythodoros. Circa 4th century BC. Α[ΠΤAΡΑΙΩΝ] around head of Artemis Aptera to right, with](https://cdn.globalauctionplatform.com/fd0beea0-94bb-4568-87e5-a50800efba14/e51fd784-96a5-4bd5-e3a2-f95cc4c4a180/468x382.jpg)
Los 379
Crete, Aptera AR Stater. Signed by Pythodoros. Circa 4th century BC. Α[ΠΤAΡΑΙΩΝ] around head of Artemis Aptera to right, with hair elaborately curled upwards around a stephane ornamented with palmettes; she wears an elaborate crescent and solar-disk pendant earring with three drops and a pearl necklace; to right in smaller letters the artist's signature: ΠΥΘΟΔΟΡΟΥ / Warrior hero Apteros, called Ptolioikos, standing facing, his bearded head left, wearing crested helmet and cuirass, holding in his left hand a spear and shield decorated with a sunburst, his right is raised towards a sacred fir tree in left field; ΠΤΟΛΙΟΙΚΟΣ around. Le Rider, Monnaies crétoises, p. 36, 269-70, pl. 9, 11-12; Svoronos, Crète, p. 15, pl. 1, 10 (same dies); BMC 1, pl. 2, 3 (same dies); BMFA Suppl. 108 (same dies); LIMC VII/1, p. 588, VII/2, sv. Ptolioikos 2 (same rev. die); for the engraver's signature see L. Forrer, Notes sur les signatures de graveurs sur les monnaies grecques, Bruxelles 1906, pp. 277-284. 11.41g, 14mm, 12. Good Very Fine. Extremely Rare. Of exceptionally fine style and quality, and very well preserved for the type, which is mostly found in lamentably poor condition. From a private American collection. The stunningly beautiful obverse female portrait is that of Artemis Aptera (or Aptara as inscribed on the coins, a local form of the Cretan Artemis Diktynna), the patron goddess of the city. Before her image in small characters proudly appears the name of the artist Pythodoros, a master die-engraver who also worked at Polyrherion on the equally beautifully styled female head which has been defined as that of Britomartis, 'sweet maiden' in the Cretan dialect. Also identified as Artemis Diktynna, Britomartis in Cretan myth was caught in a fisherman's net (diktyon) while trying to escape the advances of Poseidon, and was the subject of several Cretan coin types inspired by a statue then attributed to Daedalos, who was reputed to be the father of Cretan art (cf. Le Rider pp. 114-6, 3-6 pl. 28, 19-38; Svoronos 15-16, pl. 26, 4-5; Traité pl. 261, 25; BMC 1-2). Both images are very much influenced by the Sicilian school of die engraving as epitomised by the celebrated artists such as Kimon, Phrygillos, Eukleidas, Euainetos and Eumenes. The reverse type is of no less mythological and historic interest; the warrior in question is Apteros, called Ptolioikos, a title literally meaning 'dweller in the city'. He is shown saluting a tree, a scene which can be interpreted as a rendering of what must surely be a now lost myth concerning the oiktistes or founder of the city. The fine remains of the ancient polis of Aptera or Aptara (IACP 947), the modern Palaiokastro, are situated near the Minoan site of Megala Chorapia on the south side of Suda Bay, the safest anchorage in Crete throughout Greek, Venetian and Ottoman times, and which is today an important NATO naval base. Eusebius informs us that the city was founded by an eponymous hero, Apteros in the year 1503 BC (Chronicon 44c). The first historical mention of Aptera dates from the 7th century BC when a contingent of archers is reported to have fought along with Spartans in the war against Messene (Pausanius, Description of Greece IV 20, 8). Various attemps in antiquity were made to explain the city's name: notably, that it was the site of the song contest of the Muses and Sirens. In this story the latter lost their wings in a fight that ensued after their defeat (Stephen of Byzantium sv. Aptera; 'aptera' = 'wingless'). The city's name most likely derives from one of the epithets of Artemis, Aπτερα (cf. Inscriptionis Cretae 2), similar to that of the statue in the temple of Athena Nike on the Acropolis at Athens, which later took on the name of Nike Apteros, meaning 'wingless' Nike. From the fourth century BC Aptera produced coins on the Aiginetan weight standard, but by later Hellenistic times it gradually declined in favour of its powerful neighbour Kydonia and was finally absorbed by Rome in 67 BC.
Los 420
Ionia, Phokaia EL Hekte. Circa 478-387 BC. Bearded head of Tissaphernes to left, wearing satrapal headdress / Quadripartite incuse square punch. Bodenstedt 86; SNG von Aulock –; Boston MFA –; BMC –; Pozzi –; Traité –; Winzer 6.6; CNG e342, lot 287; CNG e210, lot 43; Gemini VI, lot 192; Peus 361, lot 184. 2.55g, 11mm. Mint State. Extremely Rare, only one example recorded by Bodenstedt, and apparently only the fifth known. From the Kleines Meisterwerk Collection. Since it is known that satraps issued coins in their own name with their own portraits, both Bodenstedt and Winzer named the satrap depicted on this coin as Tissaphernes on the basis of parallels between the portrait as seen here and those on other coinages. Indeed there are distinct physical similarities (the shape of the nose, brow and eye sockets) between the present type and the portrait of Tissaphernes on the Kyzikene-issued tetradrachms of Athenian owl reverse type struck c.420-395. Tissaphernes was born in 445 into an important Persian family; his grandfather was Hydarnes, who was a general under Xerxes, and commander of the Immortals during the invasion of Greece in 480. He rose to the position of commander in chief of the Persian armies in Asia Minor, and was appointed satrap of Lydia and Karia. Yet because Tissaphernes preferred duplicitous negotiation to open warfare, in 408 he was replaced in his position as general by the King’s second son, Cyrus the Younger. When King Darius II died in 404, his eldest son Artaxerxes II was crowned. Cyrus, seeking the throne for himself, attempted to have his brother assassinated, though Tissaphernes learned of the plot and informed Artaxerxes. Imprisoned, but soon pardoned through the intercession of their mother, Cyrus was sent back to his command, where he now gathered an army which included Xenophon’s ‘Ten Thousand’ Greek mercenaries. Tissaphernes was instrumental in warning Artaxerxes of his perfidious brother’s intentions, and in gathering an army to oppose Cyrus. Cyrus was undone at the Battle of Cunaxa in 401, through the disobedience of the Greek commander Klearchos of Sparta, who refused to move his troops to the centre of the line (wary of his undefended right flank) in order to directly attack Artaxerxes. The Greeks instead charged and scatted the loyal Persian left wing, but meanwhile Cyrus died in his assault on the centre while attempting to kill or capture his brother. Tissaphernes was then able to rout all of Cyrus’ leaderless and demoralised forces, except the Greek mercenaries who steadfastly maintained their discipline, and were unassailable by frontal assault. Tissaphernes therefore dealt with the Greeks by supplying them with food and leading them northwards for home. He invited the senior Greek commanders to attend a feast, whereupon he took them prisoner, led them before Artaxerxes, and had them decapitated. As a reward for his loyalty, Artaxerxes gave Tissaphernes one of his own daughters in marriage and restored him as governor of Lydia and commander in chief of the Persian armies in Asia Minor. Xenophon, until then a middle ranking officer, was hereupon elected one of the leaders of the Ten Thousand. In his Anabasis, he describes Tissaphernes as lacking in all honour, the supreme example of faithlessness and oath-breaking, for he used his hospitality to delude and decoy his victims before having them executed - a treachery of the most heinous kind.
Los 450
Lesbos, Mytilene EL Hekte. Circa 454-427 BC. Head of Athena wearing crested Corinthian helmet to right / Two confronted female heads, their faces overlapping; all within incuse square. Bodenstedt 55; HGC 6, 981; Boston MFA 1693; de Luynes 2555. 2.53g, 11mm, 1h. Near Mint State. Very Rare, Bodenstedt lists only 8 examples; CoinArchives records six, of which this is the finest by far. From the Kleines Meisterwerk Collection. This coin seems like a perfectly ordinary hekte when the obverse is first viewed; it is only when the coin is flipped to reveal its highly unusual reverse does the importance and novelty of the type become apparent. Employing a simple but effective form of optical illusion, the reverse appears to show the same female portrait both to the left and to the right. The design is deliberately intended to confound the eye and engage the viewer’s attention in attempting to resolve both portraits independently of the other, which is of course impossible, thus presenting the viewer with a visual paradox. The image works by confusing the brain’s figure-ground perceptual grouping process by giving it contradictory cues, thus preventing it from assigning definitive edges to the observed shapes. As a result, the human visual system will settle on one of the portraits, facing either left or right, and alternate between them. The importance of this type, both in terms of numismatic art and in the wider context of Greek art in general, cannot be understated. It is a thoroughly novel, and never to be repeated experiment in paradoxical illusion on the coinage of a Greek city-state. The Greeks were certainly familiar with the concept of a visual paradox - Plato describes the ourobouros ‘tail-devouring snake’ as the first living thing; a self-eating, circular being: the universe as an immortal, mythologically constructed entity. They were also aware of the power of illusions - Greek architects would apply a technique known as entasis in the construction of their temple columns. Columns formed with straight sides would appear to the observer to have an attenuated appearance, and their outlines would seem concave rather than straight. Therefore a slight convex curve would be built into the shaft of the column, resulting in a swelling in the middle parts, in order to correct this disagreeable trick of the eye. Why then, when they were clearly aware of the power of illusion and paradox, did Greek artists not employ such techniques? The answer most likely lies in the cultural shift away from the static representational art of the archaic period driven by new realistic and idealistic paradigms; artists now sought to demonstrate their skill through attempting to attain aesthetic perfection based on both observational study, and occasionally improvement of nature through idealisation of the subject’s features. Thus non-practical forms of optical illusion were most likely dismissed as curious, but unlikely to earn an artist everlasting fame. It was therefore left to relatively modern artists such as Oscar Reutersvärd, who created the Penrose Stairs (also dubbed the impossible staircase), and psychologists such as Edgar Rubin, who developed the familiar Rubin’s vase (sometimes known as the Rubin face or the figure–ground vase), to explore the visual and psychological implications of these images which trick the brain. The significance of this coin therefore is that it predates the work of both of the aforementioned celebrated ‘illusionists’ by well over two milennia, and demonstrates an appreciation and understanding of optical illusions as an art form, not just a necessary practical expedience.
Los 507
Kingdom of Pergamon, Philetairos AR Tetradrachm. Circa 270-265 BC. Diademed head of the deified Seleukos I to right / Athena, helmeted and wearing long robes, seated to left on low throne with lion's feet, resting her left elbow on support in the form of a sphinx, holding a transverse downward pointing spear in her left hand and resting her right on the edge of a round shield adorned with a gorgoneion standing before her; above, ivy leaf; to right, bow; AΘ monogram on throne. SC 309.5b; SNG France 1601 (same obv. die); Hunt 104 = Hunt Sale I 105; Leu 81, lot 256 (same obv. die). 17.03g, 29mm, 12h. Near Extremely Fine. Attractively toned, light scratch on reverse. Philetairos began his career serving under Antigonos Monophthalmos, but after the Battle of Ipsos in 301 BC where Antigonos was killed, he shifted his allegiance to Lysimachos, who entrusted him with command of the fortress of Pergamon, and a treasury of nine thousand talents of silver (234 metric tonnes). Philetairos served Lysimachos until 282 BC, when perhaps because of conflicts involving the court intrigues of Arsinoe, Lysimachos’ third wife, Philetairos deserted Lysimachos, offering himself and the important fortress of Pergamon, along with its treasury to Seleukos, who subsequently defeated and killed Lysimachos at the Battle of Korupedion in 281 BC. Seleukos himself was murdered by Ptolemy Keraunos, a brother of Arsinoe, a few months later at Lysimacheia. After the death of Seleukos, though he and Pergamon remained nominally under Seleukid dominion, Philetairos had considerable autonomy and with the help of his considerable wealth was able to increase his power and influence beyond Pergamon. His first coinage was struck under the reign of Antiochos I, the son of Seleukos, and though it proclaims his loyalty to Seleukos, the presence of his name upon the reverse must have inevitably raised suspicions about his ambitions. Nevertheless, Philetairos never went so far as to proclaim himself king, and remained loyal to the Seleukids until his death in 263. Having no children of his own, Philetairos passed the rule of Pergamon to his nephew Eumenes, who almost immediately revolted against Antiochos, defeating the Seleukid king near Sardes in 261. Euemenes was thus able to free Pergamon, and greatly increased the territory under his control. In his new possessions, he established garrison posts in the north at the foot of Mount Ida called Philetaireia after his adoptive father, and in the east, northeast of Thyatira near the sources of the river Lykos, called Attaleia after his grandfather, and he extended his control south of the river Caïcus to the Gulf of Kyme as well. Demonstrating his independence, he began to strike coins as his predecessor had done, only now the obverse portrait was that of his uncle and adoptive father Philetairos.
Los 537
Dynasts of Lycia, Ddenevele (?) AR Stater. Circa 410-400. Bearded head of Herakles right, wearing lion’s skin headdress / helmeted head of Athena right, diskeles behind, all within round incuse. Unpublished in the standard references, for types cf. Traité 406 pl. 101, 2. 7.91g, 21mm, 10h. About Extremely Fine. Apparently unique and unpublished. A Herakles portrait of arrestingly fine style.
Los 697
Sextus Pompey AR Denarius. Uncertain mint in Sicily (Catania?), 42-40 BC. MAG PIVS IMP ITER, diademed and bearded head of Neptune right; trident over left shoulder / Naval trophy set on anchor, top of trident visible above helmet; the arms composed of the stem of a prow in right and aplustre in left; two heads of Scylla at base; PRAEF CLAS ET ORAE MARIT EX S C around. Crawford 511/2a; RSC 1a; Sydenham 1347; Sear 333. 3.60g, 18mm, 12h. Usual flatness from striking, otherwise Good Extremely Fine. Beautifully toned and superb for the issue. It has been remarked that the coinage of Sextus Pompey was a step towards the propagandistic issues of the Roman emperors. Having decided upon an affinity with Neptune, he minted a series of coins depicting the god and continuing his theme of pietas. This virtue was highly valued in Roman society; the city's founder Aeneas' epithet is pius and tradition details that his piety was three-fold; to his father, his homeland and the gods. Pompey was not the only imperator to draw upon the Aeneas myth on his coinage (see Crawford 458/1), however he was unique in commandeering a theme and using it repeatedly. His earliest denarii feature a personification of the goddess Pietas (Crawford 477/1a), but references become subtler and more complex on later issues as per the present example. Here, Pompey Magnus is remembered within the obverse legend, with Pietas also explicitly referenced. Sextus Pompey does not allow us to forget that it was the Senate who declared him praefectus classis et orae maritima, tying his patriotism in neatly. This military title lends itself obviously to Neptune, whose portrait is displayed on the obverse. The naval trophy not only alludes to Pompey's naval victories but also to his piety towards Neptune to whom he is reported to have sacrificed 100 bulls and in whose honour a live horse was flung into the sea, along with an offering of gold (Florus 2.18.3).
Los 754
Vitellius AV Aureus. Rome, August - December AD 69. A VITELLIVS GERM IMP AVG TR P, laureate head right / XV VIR SACR FAC, tripod lebes with dolphin above and raven standing right below. BMC 38; BN 75; C. 110; RIC 108; Biaggi 288; Calicó 585. 7.26g, 19mm, 6h. Good Extremely Fine. Very Rare. Lustrous, beautifully struck and possessing a superb portrait. Easily among the finest surviving aurei of Vitellius. Emperor for only eight months, Vitellius was the third to take the purple during the Year of the Four Emperors in AD 69. Consul in 48 and Proconsul of Africa in 60/61, Vitellius commanded the army of Germania Inferior in 68, where he made himself extremely popular with the officers and soldiery through lavish extravagance and lax discipline. It was because of two of his legion commanders on the Rhine that he was acclaimed emperor by the legions in Germania, and they were soon joined by the armies of Britannia, Gaul and Raetia. With Otho’s suicide, Vitellius gained the throne without the need for excessive bloodshed. His short lived reign was characterised by excessive feasting, gambling and indolence. Suetonius records some of the greater outrages which led to his being deserted in favour of Vespasian: ‘Acting more and more in open violation of all laws, both divine and human, he assumed the office of Pontifex Maximus, upon the day of the defeat at the Allia; ordered the magistrates to be elected for ten years of office; and made himself consul for life.’ The reverse of this coin makes reference to Vitellius’s membership of one of the four priestly colleges, the Quindecimviri Sacris Faciundis (the other three being the Pontifices, Augures, and the Epulones), and so also his new self-appointed position as Pontifex Maximus. The raven refers to the college of Augures who interpreted the will of the gods through the study of the flight of birds. The tripod lebes can be linked with the college of Epulones, which arranged the religious feasts and festivals. The dolphin holds several symbolic meanings including that of messenger, protector and guide, and can be associated directly with various gods including Neptune, but when viewed as a symbol for protection and guidance, is associated with the college of Quindecimviri Sacris Faciundis. Members of this college were responsible for keeping the Sybilline Books in safety and secrecy. At the command of the Senate, they consulted the Books in order to discover not exact predictions of definite future events in the form of prophecy, but the religious observances necessary to avert extraordinary calamities and to expiate ominous prodigies (comets and earthquakes, showers of stones, plague, and suchlike).
Los 840
Pupienus AR Denarius. Rome, AD 238. IMP C M CLOD PVPIENVS AVG, laureate, draped and cuirassed bust right / PAX PVBLICA, Pax seated left, holding branch and sceptre. RIC 4. 3.25g, 20mm, 12h. Fleur De Coin. A remarkably detailed portrait, engraved in excellent style and high relief. From the Gutekunst Collection; Ex A. Tkalec, 23 October 1998, lot 258.
Los 857
Julian I of Pannonia Æ Antoninianus. Siscia, late AD 284-February 285. IMP C M AVR IVLIANVS P F AVG, radiate, draped and cuirassed bust right / FELICITAS TEMPORVM, Felicitas standing left, holding caduceus and sceptre; S – B across fields, XXI in exergue. C. 1; RIC 2. 3.84g, 23mm, 6h. Extremely Fine. Some original silvering remaining. Rare. One of the more serious of the ‘Thirty Tyranni’ described by Roman historians in the Historia Augusta, the revolt of Marcus Aurelius Julianus of Pannonia against Carinus in 284 caused the emperor to march from Britain and lead his army against the rebels near Verona, or perhaps in Illyricum (the sources are unclear), crushing them in early 285. Issued from the mint at Siscia, the coins of Julian of Pannonia are in the same good style that this mint had previously issued in the service of legitimate emperors, with a fine portrait.
Los 163
PODSTRIZHENNYMI GLAZAMI, WITH AUTHORS INSCRIPTION AND DRAWING REMIZOV, Alexey Mikhailovich (Russian 1877-1957), Podstrizhennymi glazami. Kniga uzlov i zakrut pamyati [With Trimmed Eyes. The Book of Knots and Swirls of Memory] (Paris: YMCA Press, 1951). 8vo (230 x 162 mm). First edition. Second front free endpaper featuring author`s gifting inscription accompanied by his signature, drawing with self-portrait, monogram and date. The inscription in Cyrillic reads: To Boris Pavlovich Voinarsky. My life from the cradle to prison 1877-1897. Dated 7 IX 1951. With the stamps of Boris Voinarsky library on the front free endpaper and on the inner front cover. Author`s handwritten edition of text appears on page 203. Original publisher’s wrappers bound in quarter leather binding. PROVENANCEFrom the library of Boris Pavlovich Voinarsky (1895-1957)PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Los 248
A RARE SET OF SEVEN CHARGER PLATES WITH CHARACTERS FROM GOGOLS DEAD SOULS, KUZNETSOV PORCELAIN MANUFACTORY, MOSCOW, EARLY 20TH CENTURYeach with a hand-painted portrait of a character from Nikolai Gogol`s Dead Souls on a white cavetto, diameter: 31.2 cm (12 1/4 in.), blue factory mark on basePLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Los 26
ALEKSEY AVVAKUMOVICH NAUMOV (RUSSIAN 1840-1895)Country Tailor, 1873oil on canvas61 x 50 cm (24 x 19 3/4 in.)signed in Cyrillic and dated lower left LOT NOTESAleksey Naumov was a celebrated Russian painter of genre scenes. Graduating from the Imperial Academy of Arts in St. Petersburg in 1872, he was promoted in the Academy in 1873 for executing a live study for a portrait of a country tailor. The finished painting was also exhibited in London, where the artist was honored for it with a silver medal. Given that the present lot has the same date of creation, as well as subject matter, it is entirely possible that the medal-winning painting is the present lot. Coming from a private U. S. collection, this work could have been purchased at the International Exhibition of Arts, Manufactures and Products of Soil and Minе of 1876 in Philadelphia, in which Naumov took part, also presenting his prominent works Kurnaya Izba, An Orphan, and Sheepherder.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Los 670
ISIDOR KAUFMANN (AUSTRIAN-HUNGARIAN, 1853-1921)Portrait of a Man in a Shtreimel, oil on panel19 x 15.5 cm (7 1/2 x 6 1/8 in.)signed lower left along the border; inscribed Rabbi II on versoPROVENANCEFrom the collection of an esteemed Boston familyIMPORTANT NOTEThis lot will be sold after Shabbos at 7:30 PM New York time.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Los 671
ISIDOR KAUFMANN (AUSTRIAN-HUNGARIAN, 1853-1921)Portrait of a Young Man, oil on panel23 x 18 cm (9 x 7 1/8 in.)signed lower right along the borderPROVENANCEChristie`s, New York, Feb 15, 1994, lot 93Sotheby`s, New York, Dec 13, 2006, lot 230Christie`s, New York, Oct 22, 2008, lot 187Private Collection, New York (acquired by the present owner at the above sale)IMPORTANT NOTEThis lot will be sold after Shabbos at 7:30 PM New York time.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Los 74
BORIS ANISFELD (RUSSIAN 1878-1973)Portrait of a Young Woman with Flowers, 1932watercolor on paper68 x 53 cm (26 3/4 x 20 7/8 in.) [sight]signed and dated lower rightPROVENANCEMacDougall`s, London, November 29, 2007, lot 82EXPERTISEWe are grateful to Charles Chatfield-Taylor, grandson of the artist, for confirming the authenticity of this work.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Los 89
DAVID BURLIUK (RUSSIAN 1882-1967)Self-Portrait with a Model, oil and mixed media on canvas25.6 x 31 cm (10 x 12 1/4 in.)signed lower right; old A.C.A. Gallery label on versoPROVENANCEA. C. A. Gallery, New York, NYPLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Los 91
DAVID BURLIUK (RUSSIAN 1882-1967)Portrait of Elias Fournier, Greenport, LI, 1947watercolor on paper40.7 x 30.2 cm (16 x 12 in.)signed and inscribed lower right Burliuk Greenport L.I. N.Y.; inscribed and dated on table Elias Fournier 1947PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Los 110
SPENSER JEREMY: (1937- ) British Actor who disappeared into obscurity in the late 1960s. Rare vintage signed and inscribed 8 x 10 photograph of Spenser in a head and shoulders pose. The original publicity portrait, with a typed caption affixed to the verso, was issued to promote Spenser’s role as ‘the mysterious “Young Man”’ in The Roman Spring of Mrs. Stone (1961) alongside Vivien Leigh. Signed by Spenser in bold blue fountain pen ink to a light area of the image. A few extremely light, very minor surface and corner creases, VG
Los 193
STARR RINGO: (1940- ) English Musician, Drummer with The Beatles. Signed album record sleeve for Rubber Soul (1965), signed ('Ringo') in bold blue ink with his name alone to the colour front cover featuring a group portrait of The Beatles. Record still present. Some light surface and corner creasing, G
Los 221
KLEMPERER OTTO: (1885-1973) German Conductor & Composer. A large 4to printed programme for a Beethoven Festival performance with the Philharmonia Orchestra, conducted by Klemperer, at the Royal Festival Hall, London, October - November 1957, signed by Klemperer in bold ink to the lower white border beneath his inside portrait page, dated 1957 in his hand. Also signed by Christa Ludwig, Hans Hotter, Wilhelm Pitz and a few others, each alongside their portraits to an inside page. Some age wear to the lower right corners of each page and some light dust staining and a large tear to the cover. Together with two further printed 4to and slightly smaller programmes individually signed by the composers Aaron Copland (first name largely faded and only just visible, 1968) and Richard Rodney Bennett. FR to G, 3
Los 248
PATTI ADELINA: (1843-1919) Italian Opera Singer. A.L.S., Adelina Patti Cederstrom, three pages, 8vo, Craig y Nos Castle, Breconshire, South Wales, 23rd June 1911, to Miss. Morgan. Patti sends her correspondent and her sister thanks for a portrait medal of King George and Queen Mary which she will 'always greatly value in commemoration of June 22nd 1911 and also as a remembrance of your kindly thought of me'. Together with a vintage art nouveau postcard featuring a colour image of a young lady, signed ('Adelina Patti, Baroness Cederstrom') by Patti to a clear area and dated 1906 in her hand. The postcard possibly neatly trimmed, with one corner neatly clipped and some light overall age wear (G), the letter VG, 2 The Coronation of King George V (1865-1936) and Queen Mary (1867-1953) took place at Westminster Abbey on 22nd June 1911 and was celebrated by the Festival of Empire in London.
Los 255
REYNOLDS JOSHUA: (1723-1792) English Portrait Painter. Scarce, dark ink signature ('Sir Joshua Reynolds') on a piece, slightly irregularly clipped at the base and most likely removed from a page of a visitor's book, attractively matted in ivory and cream and laid down alongside a small contemporary note in an unidentified hand, stating 'This is the signature and writing of Sir J. Reynolds on his viewing the house & paintings at Cowdray House in Sussex about 1785'. Matted beneath an antique engraving of the famous self-portrait of Reynolds (published by Cadell & Davies of London, 8th May 1809) and framed and glazed in a gold coloured frame to an overall size of 16 x 20. About VG Cowdray House was one of the great Tudor houses of England, situated close to Midhurst in West Sussex. Several years after the visit of Reynolds, in September 1793, the house was largely destroyed by fire during the course of restoration work. From the collection of paintings acquired by the owners, the Viscounts Montagu, only three were to survive.
Los 266
VICKY: (1913-1966) Vitcor Weisz. German-British Political Cartoonist. An original signed black pen and ink sketch of by Vicky, being a self-portrait in a profile head and shoulders pose. Drawn and signed by Vicky on a sheet of 3.5 x 5 white paper and dated February 1960 in his hand. Together with an A.L.S, Vicky, one page, 4to, London, 22nd February 1960, to Miss Fuller-Shapcott, sending the self-portrait. Some light surface creasing to the letter, otherwise VG, 2
Los 290
WAUGH EVELYN: (1903-1966) English Writer. Bold red signature ('Evelyn Waugh') in indelible pencil on a card. A newspaper portrait of Waugh is neatly affixed to the left of the signature. Dated 19th August 1947 in the hand of a collector to the verso. Some extremely light, minor age wear, otherwise VG
![[VICTORIA]: (1819-1901) Queen of the United Kingdom Great Britain & Ireland 1837-1901. Vintage unsigned cabinet photograph by](https://cdn.globalauctionplatform.com/fbc463d5-a118-4c6b-9c10-a51000a2f7ce/5cbd7b69-3617-4ef1-ef59-6df55d601341/468x382.jpg)
Los 396
[VICTORIA]: (1819-1901) Queen of the United Kingdom Great Britain & Ireland 1837-1901. Vintage unsigned cabinet photograph by Gunn & Stuart of London, the Jubilee portrait showing the Queen seated in a half length pose in profile. Published by Lea, Mohrstadt & Co. Ltd. of Birmingham. Photographer's and publisher's imprints to the lower mount and with a plain verso (slight traces of former mounting). A printed caption to the lower mount states 'Photographed by Royal Command at Buckingham Palace in the 60th year of her reign' (1897). Some very light scuffing to the mount and some slight wear to the corners, about VG
![[VICTORIA]: (1819-1901) Queen of the United Kingdom Great Britain & Ireland 1837-1901 & [BEATRICE] (1857-1944) Prince](https://cdn.globalauctionplatform.com/fbc463d5-a118-4c6b-9c10-a51000a2f7ce/5659d990-9eef-46aa-a39f-756196684b04/468x382.jpg)
Los 399
[VICTORIA]: (1819-1901) Queen of the United Kingdom Great Britain & Ireland 1837-1901 & [BEATRICE] (1857-1944) Princess, youngest child of Queen Victoria and Prince Albert. Companion of the Queen for much of her life, serving as her unofficial secretary. Vintage unsigned cabinet photograph by Alexander Bassano of London, the sepia image depicting the Queen seated in a full length pose with the Princess seated in a full length pose at her side. Photographer's imprint to the lower mount and verso. Some very light, minor spotting to the image, VG Alexander Bassano (1829-1913) British Photographer, the leading royal and high society portrait photographer in Victorian London.
![[VICTORIA]: (1819-1901) Queen of the United Kingdom Great Britain & Ireland 1837-1901. Vintage unsigned cabinet photograp](https://cdn.globalauctionplatform.com/fbc463d5-a118-4c6b-9c10-a51000a2f7ce/4cfe5bdc-d462-4675-816d-625d6f72703b/468x382.jpg)
Los 400
[VICTORIA]: (1819-1901) Queen of the United Kingdom Great Britain & Ireland 1837-1901. Vintage unsigned cabinet photograph by Alexander Bassano of London, the unusual image depicting the Queen in a full length pose accompanied by two of her young grandchildren, Princess Margaret of Connaught (1882-1920, Crown Princess of Sweden, daughter of Prince Arthur of Connaught) and Prince Arthur of Connaught (1883-1938, British Military officer and Governor-General of the Union of South Africa 1920-24, son of Prince Arthur of Connaught). Photographer's imprint to the lower mount and with a plain verso. Some very light, minor age toning to the upper edge of the image, VG Alexander Bassano (1829-1913) British Photographer, the leading royal and high society portrait photographer in Victorian London.
Los 439
GREY EARL: (1764-1845) British Prime Minister 1830-34. A.L.S., Grey, one page, 8vo, Government House, Devonport, 24th September 1825, to a gentleman. Grey states that he has only just received his correspondent's letter and continues 'I should have been most happy to comply with your request, had it been in my power, but I am sorry to say that I am possessed of no portrait of the late Mr. Geo. Ponsonby'. With blank integral leaf. VG George Ponsonby (1755-1817) British Lawyer and Politician, Lord Chancellor of Ireland 1806-07.
Los 544
TRUBSHAW BRIAN: (1924-2001) British Test Pilot, the first to fly Concorde, April 1969. Signed First Day Cover commemorating Trubshaw and featuring a colour image of Concorde in flight and with a head and shoulders portrait of the pilot. Post marked 31st May 1980. Signed by Trubshaw in black ink with his name alone across a clear area of the cover. About EX
Los 85
TREVOR CLAIRE: (1910-2000) American Actress, Academy Award winner. Vintage signed and inscribed 8 x 10 photograph of Trevor seated in a half length pose. The Warner Bros. publicity portrait was most likely issued for the film The High and the Mighty (1954) in which Trevor starred in the role of May Holst opposite John Wayne as Dan Roman, and for which the actress was nominated for a Best Actress in a Supporting Role Oscar. Signed in blue fountain pen ink to the image, largely across a clear area. About EX
Los 150
WILLIAM RUSSELL FLINT (1880-1969) Pair of framed, glazed, 20th Century, numbered prints, to include one portrait study of a group of dancers in various stages of dress and in different poses, and one portrait of a nude female reclining on a chaise draped loosely with cloth, 50cm x 67cm, 44cm x 60cm (2).
Los 151
Pair of framed, glazed, numbered, 20th Century, prints, to include one JIN G KAM (b.1953) signed and limited edition portrait of a lone saxophonist against an abstract colourful background titled ‘Sultry’, and one GAIL GLASS portrait of a large tan coloured wild cat resting outstretched on a tree branch dripping with moss against a background of faded trees, 66cm x 66cm, 16.5cm x 23cm (2).
Los 166
*K M MELVILLE. Pair of works, to include one framed, glazed, unsigned, 20th Century, acrylic on paper, portrait of a clown’s head in profile against a circus tent background, and one framed, glazed, unsigned, 20th Century, oil on canvas, portrait of a young girl holding onto a piece of furniture backed by a large paneled wall and a moonlit window, 70cm x 49cm, 74cm x 49cm (2).
Los 184
Pair of framed, glazed, unsigned, 20th Century, watercolour on paper, including one portrait of a woman dressed elegantly in black standing beside a set dinner table place with her hand resting on a chair, and one portrait of a woman dressed in a white off the shoulder ball gown standing beside a set dinner table place with her hand resting on a chair, 21cm x 11.5cm (2).
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