Ca. 100-300 AD. A beautifully formed one-piece gold ring with broad shoulders tapering into the band and a large bezel finely engraved with a portrait of a noble lady, possibly a member of the imperial family. She is depicted facing to the right and wearing a stephane, a type of wreath made from either metal or waxed cords and originally used to signify high status. Her hair is exquisitely braided, adding a further touch of elegance to the piece. Fashion styles for Roman women during the imperial era were often highly ornate, with clothing often featuring intricate embroidery, precious stones, and other luxurious adornments. Hairstyles were often elaborate, with styling methods such as braiding, plaiting, curling, and crimping all popular. Hair would be decorated with ribbons and wreaths, such as the stephane. Jewelry was also highly fashionable during the imperial era, with gold jewelry, including rings and earrings, being particularly popular. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 16.00mm / US: 5 3/8 / UK: K 1/2; 12.4gProvenance: Private London collection; British art market 1990s.
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Ca. 100-200 AD. A wearable gold ring, Henig type I, with a round hoop widening at the shoulders, and a bezel with inset oval onyx gemstone with an intaglio depicting a left-facing female bust, flanked by quiver and arrows; the latter lead to identifying this female portrait as a depiction of the Roman goddess Diana. In Roman art, Diana usually appears as a huntress with a bow and quiver, accompanied by a hound or deer. In Rome, the most important temple of Diana was on the Aventine. This temple housed the foundation charter of the Latin League and was said to date back to King Servius Tullius (6th century BC). Another important centre for the worship of Diana was Ephesus, where the Temple of Artemis (or Diana) was one of the Seven Wonders of the World. Cf. G. M. A. Richer, Catalogue of Engraved Gems - Greek, Etruscan and Roman, Plate XXXIX, fig. 282.Size: D: 19.31mm / US: 9 3/8 / UK: S 1/2; 12.64gProvenance: Private London collection; British art market 1990s.
Ca. 100-300 AD. A finely engraved agate gemstone intaglio with a left-facing portrait of Minerva (Greek Athena), the goddess of wisdom and warfare. Shown in profile, she displays a naturalistic eye, a prominent nose, and closed lips, all framed by a wavy coiffure worn under a Corinthian-type helmet. This fine intaglio is set in a possibly later gold ring of a flat-section hoop, widening at the shoulders, which are embellished with an intricate foliate design. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 17.35mm / US: 7 / UK: O; 9.39gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Ca. 100-200 AD. A stunning gold ring of Hening type III with a flat interior and rounded outside and the band gradually expanding to support the bezel, which is set with a garnet intaglio engraved with the portrait of a noble woman. She is depicted facing to the left, wearing a veil over her neatly arranged coiffure. The veil was an important symbol of the Roman era, worn primarily by married women and aristocrats to signify their wealth and status. Veils could be worn for modesty, to honor the gods, or simply to look fashionable. Veils were often made of fine fabrics, such as silk, linen, and wool, and could be decorated with precious stones and jewelry. They were usually cut to fit the head closely and were held in place with a headband or pins. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 15.80mm / US: 5 1/8 / UK: K; 5.12gProvenance: Private London collection; British art market 1990s.
Ca. end of 1st century AD. A carnelian intaglio skilfully engraved with a male portrait, possibly an emperor. The figure is portrayed facing left and has a broad forehead, aquiline nose, and strong jaw muscles. The intaglio is set in a gold finger ring of a flat-section hoop. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 18.35mm / US: 8 1/4 / UK: Q 1/2; 8.18gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Ca. 1700-1800 AD. A striking cameo, featuring a portrait of the god Hermes, the messenger of the gods. The portrayal of Hermes in the cameo is highly detailed, emphasizing his characteristic features that are central to his depiction in Greek mythology. The god Hermes is depicted here in his right profile, wearing his iconic hat with wings, known as the petasos, which symbolizes his role as the messenger of the gods. The fine features of his face are delicately rendered in the carving, with particular attention paid to his alert and watchful eyes, reflecting his role as the messenger who is constantly vigilant and alert. His nose is straight and chiseled, his lips are thin, and his chin is strong and well-defined. In addition to his attire and facial features, the carving also shows Hermes with a mantle slung over his left shoulder, emphasizing his status as a deity. On his right arm rests a caduceus, a staff that is traditionally associated with Hermes and represents his role as the patron of commerce, travelers, and thieves. The caduceus is depicted as a staff with two intertwined snakes and a pair of wings at the top, symbolizing Hermes' ability to travel quickly between the realms of the gods and humans. The cameo is set in a gold brooch setting, which is bordered with a loop-in-loop chain. The setting complements the carving, highlighting the intricate details and fine craftsmanship of the cameo. The brooch is equipped with a pin to the back, providing a secure and functional way to wear the piece.Size: L:28.9mm / W:25.5mm ; 4.88gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Hellenistic Period, ca. 295–275 BC. A silver coin (tetradrachm) of Alexander the Great within a modern handmade circular sterling silver setting. The obverse of the coin shows the right-profile portrait of young Hercules wearing the characteristic Nemean lion's skin headdress. The reverse depicts a seated Zeus holding an eagle and a sceptre; the legend (in Greek) reads “Alexander”. These coins were minted after the death of Alexander the Great, the king of Macedonia and conqueror of much of the known world as far east as India, in order to pay homage to him and lay claim to his legacy. The pendant makes a stunning statement piece necklace. Excellent condition; wearable.Size: L:45.1mm / W:35.2mm ; 32.13gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Original vintage movie poster for Imagine John Lennon - Discover John... the angry youth, the musician, the radical, the husband, the father, the lover, the idealist... through his own words and personal collection of film and music. - featuring a stylised self-portrait of Lennon in orange, blue, purple, pink and green neon colours. Imagine is a biography film about John Lennon, directed by Andrew Solt, starring John Lennon, Yoko Ono, Paul McCartney, George Harrison, Ringo Starr, David Bowie, Phil Spector. Good condition, creasing, tears, small paper loss on top left corner. Country of issue: USA, designer: John Lennon, size (cm): 103x69, year of printing: 1988.
Original vintage travel advertising poster - Shakespeare's Britain Map - published in the May 1964 issue of the National Geographic magazine featuring a colourful illustrated map marking the settings of plays and works by and various points of interest related to the notable writer and dramatist William Shakespeare (1564-1616) in England, Wales, and Scotland based on John Speed's map The Kingdome of Great Britaine from his 1611 atlas Theatre of the Empire of Great Britaine, with a unicorn, ships and other creatures in the sea and insets including a panoramic view of Shakespeare's London and an enlarged map of Stratford Upon Avon with a framed portrait image of the great Bard of Avon and a scene from Romeo and Juliet above, a legend of Shakespeare's plays with British settings, and the information text below including Puck holding a banner reading Performed by Lisa Biganzoli, NGS Staff with the National Geographic Art Department referencing Melville Bell Grosvenor, Editor; Newman Bumstead, Chief; and Research by John D. Garst, NGS Staff. Printed by A. Hoen & Co. Very good condition, folded as issued, faint creases in corners and margins. Country of issue: UK , designer: Unknown, size (cm): 63.5x48, year of printing: 1964.
Original vintage WWI propaganda poster: La Grande Guerre - Les Anglais à La Bassée… L'Heroisme de nos Allies (Text translates as: The Great War - The English at La Bassée - The heroism of our Allies). Woodcut print with hand colouring through stencils by Eduardo Garcia Benito (1891-1981) featuring a view of the English soldiers on the battlefield at La Basse-Givenchy, fighting against the Germans. The town of La Bassée, about 25km west of Lille, had been taken by Germany back in October. Control of nearby Givenchy was regained from Germany by the British at the end of December, at a cost of 6,000 lives (4,000 from the British side). Germany renewed counter efforts in January. On 25 January the Germans began to shell Béthune and pressed forward. Fighting lasted several days but La Bassée remained in Germany's possession. The town of Givenchy-lès-la-Bassée was completely destroyed in the fighting. There is a memorial in the village for the 55th (West Lancashire) Infantry Division, commemorating their courage. Print no. 44 from the 2nd series La Grande Guerre. Published by Tolmer & Co. Eduardo Benito was a Spanish fashion illustrator and painter, noted for his Vogue covers of the 1920s and 1930s. He studied at the Mignon studio, and later trained under Daniel Vierge. In 1912 he moved to Paris, he later spent 15 years painting Vogue covers.[1] Among Benito's subjects as a portrait painter were Alfonso XIII of Spain, Paul Poiret, and the Chinese Royal family. Also in 1912, he won a scholarship to study at L’École des Beaux-Arts in Paris. Good condition, minor tears, creases and foxing in margins. Country of issue: France, designer: Eduardo Garcia Benito, size (cm): 33x40, year of printing: 1915.
Original vintage WWI propaganda poster: La Grande Guerre - En Avant!! (Text translates as: The Great War - Advance!). Woodcut print with hand colouring through stencils by Eduardo Garcia Benito (1891-1981) featuring a group of soliders standing in the trenches looking out for the enemy. This print takes as its subject the conflict in the Bois de la Grurie, in the forest of Argonne (France's Champagne region). Fierce fighting took place in this area as the German army tried to reach Verdun. Both sides dug trenches into the ground, which was dense with trees. French authorities were keen to encourage the French public to believe that there were legitimate grounds to hope for victory, but without the slightest suggestion that victory might be imminent. The image does not convey the horror of trench warfare, where mud-soaked soldiers lived in waterlogged dug-outs, without access to latrines and with no opportunity to dry their clothing. The wet also brought additional dangers: infections, infestations equipment failure and the collapse of trench walls. Print no. 35 from the 2nd series La Grande Guerre. Published by Tolmer & Co. Eduardo Benito was a Spanish fashion illustrator and painter, noted for his Vogue covers of the 1920s and 1930s. He studied at the Mignon studio, and later trained under Daniel Vierge. In 1912 he moved to Paris, he later spent 15 years painting Vogue covers. Among Benito's subjects as a portrait painter were Alfonso XIII of Spain, Paul Poiret, and the Chinese Royal family. Also in 1912, he won a scholarship to study at L’École des Beaux-Arts in Paris. Good condition, small tears in top margin, folds, foxing and staining in margins. Country of issue: France, designer: Eduardo Garcia Benito, size (cm): 32.5x39.5 (Horizontal), year of printing: 1915.
Original vintage movie poster for a war drama film Judith "Its suspense scorches, seethes, leaves you breathless! Not suitable for children" set in Israel in 1948 about a lady looking for her son and hunting down her husband who betrayed her during the war, directed by Daniel Mann and starring Sophia Loren (as Judith Auerbach Schiller), Peter Finch, Jack Hawkins, Hans Verner, Terence Alexander, Frank Wolff, Arnaldo Foa and Andre Morell. Fantastic artwork featuring a portrait of Sophia Loren in the foreground with smaller images depicting scenes from the film, including people running and embracing, the text above and below in stylised yellow and white letters. Printed by Robert Burton Pty, Ltd., Sydney. Fair condition, folds, creases and tears on margins. Country of issue: Australia, designer: Unknown, size (cm): 76x34.5, year of printing: 1966.
RUDOLF GROSSMANN 1882 - Freiburg/Brsg. - 1941: Der Dichter - „(Gussy Holl)“ - Portrait des Dichters Ringelnatz. Konvolut von 2 Bll. aquarellierten Radierungen mit teils abgeschrägten Ecken und 1 Lithographie um 1922. Expl. 16/50 (Bl. 3). Sämtlich signiert (Bl. 3 zweifach; teils beschnitten) und Bl. 2 betitelt und von fremder Hand bezeichnet „handcol.“ Auf versch. Papieren. 31 x 20,5 bis 36,6 x 24 cm. Bl. 3 leicht gebräunt, sämtlich etwas angestaubt und Ränder gering knitterfaltig. Bl. 3 mit hinterlegten Einrißen und Eckbeschädigungen. Bl. 3 erschienen in J. Ringelnatz, „Janmaate. Topplastige Lieder“, 1922. [bg]
SIR WILLIAM NICHOLSON Newark-on-Trent 1872 - 1949 London: London Types. Guardsman - Coster - Lady - Flower Girl. Konvolut von 4 Bll. Farblithographien nach kolorierten Holzschnitten von Nicholson aus der gleichnamigen Veröffentlichung 1898. Aus Campell 53. - Auf chamoisfarbenem Vélin. Je 25,5 x 22 cm. Sämtlich gering gebräunt und vereinzelt stockfleckig. 1 Bl. mit Heftspuren am linken Rand. Beiliegen: ders., The Cabriolet - Portrait of James Pryde. 2 Bll. Farbholzschnitte 1897/99. (Campbell 24 und 90, jeweils B). Bl. 2 mit dem Monogramm und Datum im Stock. Auf Vélin. 15,2 x 15,2 und 20 x 14, 2 cm. Beide unter Passepartoutblende montiert. [ms]
Maler und Kopist 19. Jh., NACH ÉTIENNE LIOTARD, JEAN "Portrait Maria Theresias", Öl auf Leinwand, aufgezogen auf Eichenholzplatte, Brustporträt der Kaiserin mit einer brillantengeschmückten Haube und Rüschenkleid, verso Klebeetikett teilw. unleserlich. HxB: 16/12 cm, gerahmt (29/24,5 cm). Altersspuren, min. Farbabplatzer, part. fleckig, part. Ablösungen der Leinwand im Randbereich.| Painter and copyist 19th century, AFTER ÉTIENNE LIOTARD, JEAN "Portrait Maria Theresa", Oil on canvas, mounted on an oak panel, bust portrait of the empress with a bonnet decorated with diamonds and a ruffled dress, partially illegible adhesive label on the reverse. HxW: 16/12 cm, framed (29/24.5 cm). Signs of age, minor paint chips, part. spotty, part. Detachment of the canvas in the edge area.
MALER/IN 17./18. Jh., "Büßende Maria Magdalena", im Halbportrait vor Landschaft stehend, Öl/Holz, HxB: 26x18 cm (48,5x40,5 cm mit Rahmen). Alters- und Beriebspuren, part. Craquelé, vertikaler Trocknungsriss in der Platte, restauriert und retuschiert. Mit Rahmen (Fassung beschädigt und part. überarbeitet).| PAINTER 17./18. Century, "Penitent Mary Magdalene", half-portrait standing in front of a landscape, oil/wood, HxW: 26x18 cm (48.5x40.5 cm with frame). Signs of age and wear, part. Craquelé, vertical drying crack in the plate, restored and retouched. With frame (frame damaged and partially revised).
TISNIKAR, JOZE (1928-1998), "Mann mit Fisch", Halbportrait vor grüntonigem Hintergrund, u.re. datiert und signiert '86 TISNIKAR', Öl/Leinwand, HxB: ca. 100x82 cm (117x97 cm mit Rahmen). Leichte Alters- und Beriebspuren, leicht gewellt zum Rand hin, Fleck. Mit Rahmen (Fassung berieben). VERSO betitelt 'Ribic' und bezeichnet 'Galerie K.'.| TISNIKAR, JOZE (1928-1998), "Man with fish", half-portrait in front of a green-toned background, l.r. dated and signed '86 TISNIKAR', oil/canvas, HxW: approx. 100x82 cm (117x97 cm with frame). Slight signs of age and rubbing, slightly wavy towards the edge, spot. With frame (frame rubbed). VERSO titled 'Ribic' and inscribed 'Galerie K.'.
KOLLWITZ, KÄTHE (1867-1945), "Selbstbildnis", 1921, Radierung (Strichätzung und Polierstahl)/Papier (mit Wasserzeichen: Signé und letzten beiden Buchstaben eines Schriftzugs 'nd', wohl für Holland), u.re. mit Bleistift von Hand signiert, HxB: Platte ca. 21,6x26,6 cm, Blatt ca. 30x37 cm. Alters- und Knickspuren, gebräunt und Lichtrand. LITERATUR: Alexandra von dem Knesebeck, Käthe Kollwitz, Werkverzeichnis der Graphik, Bern 2002, WVZ-Nr. 171, Zustand VI.| KOLLWITZ, KÄTHE (1867-1945), "Self-Portrait", 1921, etching (line etching and polishing steel)/paper (with watermark: Signé and the last two letters of a lettering 'nd', probably for Holland), signed by hand in pencil, HxW: plate approx. 21, 6x26.6 cm, sheet approx. 30x37 cm. Signs of age and creases, browned and light edge. LITERATURE: Alexandra von dem Knesebeck, Käthe Kollwitz, catalog raisonné of graphics, Bern 2002, catalog no. 171, state VI.
PORTRÄTMINIATUREN DER FAMILIE NAPOLEON BONAPARTE Frankreich, Ende 19.Jh., ovale Porträts von Napoleon Bonaparte, Caroline Murat, Maria Letizia Ramolino, Pauline Borghese, Lucian Bonaparte, Joseph Bonaparte, Elisa Bacciochi, Jerome Bonaparte und Louis Bonaparte, das Set befindet sich in einem mit Kartuschen und dem heraldischen Adler des Hauses Bonapart verzierten Rahmen aus Bein, jeweils signiert unten rechts, verso maschinengeschriebene Etiketten zur Identifizierung der Dargestellten, HxB: 42/32 cm. Rahmen mit Fehlteile. | PORTRAIT MINIATURES OF THE NAPOLEON BONAPARTE FAMILYFrance, late 19th century, oval portraits of Napoleon Bonaparte, Caroline Murat, Maria Letizia Ramolino, Pauline Borghese, Lucian Bonaparte, Joseph Bonaparte, Elisa Bacciochi, Jerome Bonaparte and Louis Bonaparte, the set is in a frame of bone decorated with cartouches and the heraldic eagle of the House of Bonapart, each signed lower right, typed labels on verso to identify the sitters, HxW: 42/32 cm. Frame with missing parts.
Solleysel (Jacques, Sieur de) Hope, Sir William, trans: 'The Compleat Horseman: Discovering the Surest Marks of the Beauty, Goodness, Faults and Imperfections of Horses: The Signs and Causes of their Diseases, the True Method both of their Preservation and Cure: With Reflexions on the Regular and Preposterous Use of Bleeding and Purging, Also The Art of Shoeing, with several Kinds of Shoes, adapted to the various Defects of Bad Feet, and the Preservation of Good, and The best Method of Breeding Colts, Backing 'em, and Making their Mouths,' made English from the Eighth Edition of the Original, second edition, pub. London, 1717, Folio, contemporary calf, two vols in one, with frontispiece portrait and six folding plates
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