Chiparus, Demétre Haralamb (Moldavian, 1886-1947); b. Dorohoi, moved to Italy 1909, then France 1912 FRANCE, Joueur de luth égyptien [The Egyptian Lute Player], c. 1925, a uniface bronze Art Déco plaque by D.H. Chiparus, Egyptian male kneeling to left, serpent-like protrusion from forehead, playing a lute, hieroglyphics in panel below, 113 x 110mm, total 407.96g. Extremely fine and superbly patinated, very rare; set on a velvet board with supporting back £200-£260 --- Provenance: bt Simmons, September 2016
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1931 Rolls-Royce 20 / 25 Sedanca de Ville by Windovers Transmission: manualMileage:57000First registered on 7th May 1931 and finished in pastel blue and black with black leather interior, GNS75 was initially ordered by J.J. Jones of 88 St. James's Street, London however the first owner was actually Hylton Ralph Murray-Philipson (Jnr) of Stobo Castle, Peebles. Stobo Castle had been purchased by Hylton Murray-Philipson Snr in 1905 and in 1924 he conveyed the estate to his son who was a pioneer aviator. Hylton's career consisted of being the C.O. of the City of Edinburgh Auxiliary Air Force Squadron, Conservative MP for Twickenham; Chairman of N.E. Marine Engineering Company and a member of the King's Bodyguard for Scotland and the Royal Company of Archers. Hylton Murray-Philipson suffered from ill health and died in 1934 aged 32 leaving GNS75 to his wife Monica and two young children. In 1939 Monica Murray-Philipson sold Stobo Castle to Wenefryde Agatha Scott, 10th Countess of Dysart and after 10 years of being a widow Monica married Colonel P.H. Lloyd of Stone House in Blaston. The Colonel and Murray-Philipson had business connections as they were both company directors of Manvers Main Collieries Ltd €“ Murray-Philipson in 1923/33 and Lloyd in 1940/47. In 1943 GNS75 is shown as being with her second family, that of John Stanley Coombe Beard of Grayshott Hall, Surrey. John Beard was an architect well known for designing over 100 cinemas in many styles, Baroque, Art Deco, Italian Renaissance, Greek Revival and even Egyptian. Interestingly in 1937 Mrs Beard made call to the police about an attempted burglary which resulted in the first arrest directly attributable to the new 999 service. A rare, possibly unique and very attractively designed car incorporating many appealing features such as stylish wings, separate steps in place of running boards, slim bumpers, external visor and louvred bonnet and scuttle with beautifully proportioned coachwork. With a polished aluminium bonnet top and waistline and P80 'bullseye' headlamps with pillar spot lamp all adds to the overall gorgeous design with the incorporation of various Art Deco touches. This 20/25 allows you to instruct your chauffeur from the privacy of the rear passenger compartment with the interior dividing screen while keeping an eye on progress with your own speedometer which is naturally mounted atop the built-in drink's cabinet. Such unusual original features are what make this Rolls-Royce special, even the delightful Sedanca de Ville coachwork is rare with its split separate steps and Art Deco flourishes. The front compartment provides accommodation for the driver and a passenger with a removable roof section for open-air motoring and wind-up windows. The driver's window also featuring a quick release lower section to allow hand signals to be easily executed. A right hand gear change allows for plenty of legroom and the large steering wheel is surmounted by a collection of hand controls. A large bulb horn lies easily to hand and the windscreen can be opened for ventilation. It is shaded by a glass visor and a spot lamp is within the driver's reach. Gauges are also a feature of the rear passenger compartment, although separated by a dividing screen, the rear passengers can keep an eye on their own speedometer as well as being supplied with a clock, barometer and a circular thermometer. The clock, and possibly the barometer, appear to be later additions. The drinks cabinet has provision for holding several decanters and a few glasses in a Lazy Susan, although the glassware itself is no longer present. The leather upholstery looks to be in lovely condition throughout, exhibiting just the right amount of patina without looking tatty. The carpets, door cards and headlining are similarly well presented as are stylish Art Deco door handles and window winders, which place this Rolls-Royce squarely in the 1930s. To the exterior, the Palladian radiator surround is topped with the Spirit of Ecstasy and the long bonnet is flanked by twin side-mount spare wheels. A pair of large Lucas tripod headlamps illuminate the road ahead and are assisted by a centrally mounted spot lamp, as well as the swivelling spot lamp near the driver. Twin horns complete the scene at the front of the car, along with a polished chrome-plated bumper. The Windovers Sedanca de Ville coachwork suits the car well and is beautifully proportioned. It features the unusual running boards, separate for front and rear passengers, as well as a useful luggage boot to the rear. Polished aluminium discs cover the wire wheels and the car runs on a full set of Paymaster tyres. Lifting the long bonnet reveals the powerful, straight-six, 3.7 litre engine. The engine features coil ignition and is fed by an Autovac fuel pump and, unusually for a car of this period, there is a glass bottle of screen wash mounted on the bulkhead, which is likely to be a later addition coupled to a small modern electric pump which has been added for ease of use. Supplied with a history file which includes historic photographs of restoration, instruction book and the original buff logbook coupled to the V5C registration document and copies of handwritten service records. The vendor informs us that the engine starts up easily every time and runs well. It is said to be a joy to drive and mechanically sound with its overhead valves, four-speed gearbox and powerful engine, this Rolls-Royce is certainly very capable and splendidly opulent. An imposing motorcar, which wears fabulously unusual coachwork and retains many original details.
A quantity of silver and white metal jewellery, mainly late 19th/early 20th Century to include filigree brooches, an Art nouveau silver and blue enamelled brooch together with an Egyptian Revival gold tone and double green scarab beetle brooch, a Scottish white metal and agate arrow brooch, a chain purse and a Tribal bangle. Location:R2.4
Three Egyptian glazed composition bead mummy masks Late Period - Ptolemaic Period, circa 664 - 30 BCin blues, browns, yellow, white and black, one with a winged scarab to the forehead,21cm, 16cm and 14.5cm wide. (3)ProvenanceFrench Collection.Ancient Art, London.Romy Rey Collection, London, acquired from the above 1997 and 1998.
Estate / Collection: Property of a New York Art CollectorPendant signed Lassaw. Length 16 inches. Egyptian-born American artist Ibram Lassaw was an early to mid-century pioneer of abstract sculpture. Born to Russian parents in 1913, Lassaw's family immigrated to Brooklyn in 1921. He was educated in the arts and developed his techniques at the Brooklyn Children's Museum, Clay Club, and New York's Beaux Arts Institute of Design and City College. Lassaw learned his welding technique while serving in the U.S. Army during World War II, which he applied heavily to his art. He was influenced by Pablo Picasso, Joan Miro, Julio Gonzàlez, the Russian Constructivists, among others, as well as his passions and studies of biology, cosmology and Zen Buddhism. His first solo show debuted at Kootz gallery in New York City in 1951. After that, he exhibited widely until his passing in East Hampton, NY in December of 2003.Condition Report:Some silvery patina of another metal on center. 3 1/4 x 2 7/8 inches.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.
Ca. 1279 - 1213 BC. A large limestone fragment of an inscribed hieroglyphic panel. The cartouche contains the prenomen of King Ramesses II, "Usermaatre Setepenre,". The design features cartouches in low relief depicting the throne name of Ramses II, an Egyptian pharaoh of the 19th Dynasty commonly known as Rameses the Great due to the prosperity of his reign and his numerous successes in battle. To the lower right a fragment of a wing is inscribed. Mounted on a custom-made stand. Item comes with a professional historical report from Ancient Report Specialists. Size: 360mm x 310mm; Weight: 9.87kg Provenance: Private London collection, acquired on the Dutch art market; Ex. Dutch collection, collected between 1960s-1980s. Presented in a photographed album from the 1960s as part of the collector's inventory. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Predynastic Period, Ca. 3600 - 2600 BC.A rare ancient Egyptian bowl made from fossilised conglomerate featuring a large, circular interior with a tall sloping wall. These forms of vessels are usually found in tombs. But their function is to assure the permanence of the ka, or spirit, of the deceased eternally in the Hereafter. Such permanence is linked to stone, one of the most enduring of materials used by the ancient Egyptians. Size: 70mm x 160mm; Weight: 495g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Late Naqada II to Early Naqada III, Ca. 3500 - 3200 BC.A charming breccia jar with an ovoid body that tapers in towards the narrow base and deep red-brown veining which permeates the pale-yellow stone. The shoulders of the vessel taper towards a flat, lipped mouth which likely held a small lid. Two pierced lug handles are situated symmetrically around the upper body and allow the vessel to be transported when not in use. For a similar example, see National Museums Liverpool, Accession Number: 1977.112.92; Michael C Carlos Museum, Accession Number: 2013.013.001. For additional information, see Ali el-Khouli, 'Egyptian Stone Vessels Predynastic Period to Dynasty III' (Mainz, 1978) nos. 1411-1423 (pl. 56). Size: 90mm x 80mm; Weight: 390g Provenance: Prince collection, 1990s-2014, acquired from Kyros Melas, London, Jan 2008. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 664-332 BC.A wooden mask from the lid of an anthropoid coffin, painted in pigment over gesso: dark red for the skin tone, a heavily drawn black outline for the eyebrows and pupil, the sclera in a white pigment. A wide headdress that sits low on the forehead. These masks were stylised and idealised portraits of the deceased individual and served an elaborate and important role in Egyptian funerary rituals. Mounted on a custom-made display stand. Item comes with a professional historical report from Ancient Report Specialists. Size: 250mm x 240mm; Weight: 1.19kg Provenance: Private UK collection. acquired on the German art market, German Export license. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, Ca. 1550 - 1069 BC.An example of an Egyptian faience grape cluster. The piercing at the top would allow attachment to a register of faience tiles representing lotus, rosettes, and grape frieze. These are known to have adorned a wall of a palace of Ramesses III at Tell el Yahudiya in lower (northern) Egypt. Such examples of moulded pendant grape clusters were used as architectural ornaments on palaces, temples and shrines, and are associated with gods and royal scenes. For additional information, see F. Dunn Friedmann (ed.), Gifts of the Nile, Ancient Egyptian Faience, London, 1998, p.189, fig.36. Size: 70mm x 45mm; Weight: 55g Provenance: Prince collection, 1990s-2014; Ex. Guy Weil Goudchaux private collection, acquired in the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 18th Dynasty, Amarna Period, Ca. 1352 - 1336 BC.A wing from a funerary scarab which would have fastened to linen wrappings or bead netting placed over the mummy. Fabric impression on the front. Back is plain. One of a pair. The Amarna Period is named after the modern village Amarna (ancient Egyptian: Akhet-Aten - horizon of Aten), which was the capital of the period. King Akhenaten became king under his birth name Amenhotep: he changed his name in his 6th year to Akhenaten, marking a radical break in art and religion at the same time. He founded a new capital dedicated to the worship of the sun-god as the visible disk, Aten. Size: 125mm x 70mm; Weight: 105g Provenance: Prince collection, 1990s-2014, acquired from Artemission; Ex. Mrs. AD Collection, London. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 18th Dynasty, Ca. 1550 - 1295 BC.A faience bowl fragment with a stunning colour and shape. The vessel is adorned with a trio of three lotus flowers, rendered in black. It is likely that tilapia fish may have been depicted feeding on these lotus buds elsewhere on the bowl. For a similar example, see nos. 76-78 in Friedman, Gifts of the Nile, Ancient Egyptian Faience. Size: 65mm x 60mm; Weight: 55g Provenance: Prince collection, 1990s-2014, acquired from Galerie Gunter Puhze, Germany. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Middle Kingdom, 18th Dynasty, Ca. 1550 - 1295 BC.Bichrome glazed faience composition spherical bead of alternating turquoise and dark-blue pigment, pierced for suspension. Cf. Friedman, F.D.; Gifts of the Nile, Ancient Egyptian Faience, p. 212, no. 81, illus. p. 115, for parallels.The Metropolitan Museum of Art, Acc. No. 166.10246. Size: 47mm x 48mm; Weight: 54g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 18th Dynasty, Ca. 1550 - 1295 BC.A slender cylindrical kohl tube carved from a single piece of ebony and taking the shape of a palm column. Eight palm fronds rise from the sgaft, flaring out slightly at the top of the vessel. At the base of the fronds, a series of four horizontal incised lines represent the ropes used to lash the fronds together. For additional information, see D. Antoine and M. Vandenbeusch, Egyptian mummies. Exploring ancient lives, Sydney 2016, pp. 132-3. For a similar example, see The British Museum, Accession Number: EA2591. Size: 85mm x 20mm; Weight: 20g Provenance: Prince collection, 1990s-2014, acquired from Jean-David Cahn Auktionen. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 18th Dynasty, Ca. 1550 - 1295 BC.A bright blue, glazed fragment of a marsh bowl. The interior of the bowl is decorated in added black and depicts a pair of tilapia fish feeding on lotus buds. For similar examples, see nos. 76-78 in Friedman, Gifts of the Nile, Ancient Egyptian Faience. Size: 125mm x 110mm; Weight: 295g Provenance: Prince collection, 1990s-2014, acquired from R. Wace, Ancient Art, UK. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Coptic Period, Ca. AD 395-642 .A rare Egyptian Coptic textile cap in blue, red and yelow wool. Plaited using a (Sprang) technique. This produces a highly elastic, netlike fabric. After stretching a system of parallel warp threads on a frame, the weaver would generate the fabric by twisting and interlacing the threads. For a similar example, see The Metropolitan Museum of Art, acc. No. 37.1762E. Size: 450mm x 200mm; Weight: 55g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Coptic Period, Ca. AD 395-642.A rare Egyptian Coptic textile cap in blue, red and yelow wool. Plaited using a (Sprang) technique. This produces a highly elastic, netlike fabric. After stretching a system of parallel warp threads on a frame, the weaver would generate the fabric by twisting and interlacing the threads. For a similar example, see The Metropolitan Museum of Art, acc. No. 37.1762E. Size: 360mm x 210mm; Weight: 45g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 20th Dynasty, Ca. 1186 - 1069 BC.A group of four circular, glazed faience tiles with delicate a rosette flower decoration. The designs vary in colour, but generally comprise teardrop-shaped flower petals surrounding a protruding central bulge. They were perhaps inlaids ornament in a home or pharaonic palace. For additional information, see Florence Dunn Friedman, ed. "Gifts of The Nile: Ancient Egyptian Faience." , Turin. For a similar example, see Egyptian Museum, Accession Number: 6824. Size: 18-35mm x 18-35mm; Weight: 15g Provenance: Prince collection, 1990s-2014, acquired from Millon & Associes, France. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Middle Kingdom, Ca. 1850 - 1775 BC.A minature alabaster vessel, cylindrical in form and slightly waisted, on a flat base, with turned-out over-hanging lip in the style of a lotus flower. For a similar example, see The Metropolitan Museum of Art, Acc. No. 33.1.18. Hayes, William C. 1953. Scepter of Egypt I: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art: From the Earliest Times to the End of the Middle Kingdom. Cambridge, Mass.: The Metropolitan Museum of Art, p. 244.. Size: 30mm x 30mm; Weight: 11.4g Provenance: Prince collection, 1990s-2014; formerly in E. Strobel private collection.
New Kingdom, 20th Dynasty,Ca. 1184 - 1153 BC.A glazed faience composition set with x-shaped design and creamy brown petals on a blue X design background with a yellow central boss. Thousands of similar rosettes were found at the Delta site of Tell el-Yahudiya where a small palace of Ramesses III was discovered. For additional information, see F. Dunn Friedman (ed.), Gifts of the Nile. Ancient Egyptian Faience, (Providence 1998), pp.87 & 197, nos. 55-56 Size: 50mm x 50mm; Weight: 30g Provenance: Prince collection, 1990s-2014, acquired from R. Wace, Ancient Art; Ex. private collection, Switzerland, acquired between 1961-2000. Collection label on the reverse reading Tel. El Yaoudi 1881. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Old Kingdom, 4th Dynasty, Ca. 2575 - 2465 BC.An Egyptian reflief fragment possibly originally from a royal tomb due to the complexity and expense. This sarcophagus, or monumental coffin, housed the mummy of an important member of the Royal family; A pattern of niches imitating the designs on palace walls decorates its surface, alluding to the sarcophagus’s function as the deceased’s final home. This example is decorated with two columns. For a similar example, see The Brooklyn Museum; Accession Number: 48.110; Eastern cemetery, mastaba G7650, pit C, the tomb of Prince Akhethotep (Akhethetep), Giza, Egypt; Size: 480mm x 370mm; Weight: 27.8kg Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 20th Dynasty, Ca. 1186 - 1069 BC. A glazed faience inlay in the form of a rosette, set with an eight-petalled white flower on a blue background and a yellow central boss. Possibly from the Temple of Ramesses III, Tell el Yahudiyeh. For additional information, see Florence Dunn Friedman, ed. "Gifts of The Nile: Ancient Egyptian Faience." The Museum of Art, Rhode Island School of Design, 1998, p. 87, figs. 55, 56. The Museum of Art, Rhode Island School of Design, 1998, p. 87, figs. 55, 56. Size: 35mm x 35mm; Weight: 10g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s.
New Kingdom, 20th Dynasty, Ca. 1186 - 1069 BC.A group of four glazed faience composition tiles of a discoid form with delicate rosette flower decoration. The design is comprised of eight teardrop-shaped flower petals surrounding a protruding central bulge. It was perhaps an inlaid ornament in a home or pharaonic palace. The flower petals were perhaps adorned with a yellow pigment at one point, and traces of black pigment around the peripheries suggest just how attractive this tile was when first created. For additional information, see Florence Dunn Friedman, ed. "Gifts of The Nile: Ancient Egyptian Faience." , Turin. For a similar example, see Egyptian Museum, Accession Number: 6824. Size: 35-40mm x 35-40mm; Weight: 45g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Amarna Period, Reign of Akhenaten, Ca. 1352 - 1336 BC.A large sandstone bracelet from a colossal statue of Akhenaten with double cartouches translating: Live Re Horakhty who rejoices in the horizon, in his name of sunlight, which is inthe Aten, Live Re ruler of the horizon who rejoices in the horizon in his name of Re the father which returns in the Aten. For a similar example, see Cairo Museum, "Colossus of Amenhotep IV/Akhenaten in the Khat and Double Crown". Size: 170mm x 140mm; Weight: 1.73kg Provenance: Prince collection, 1990s-2014, acquired from Glenn Howard, Ancient Art; Ex. old collection formed in Sydney, came to Australia from a private Egyptian collection shortly after World War II. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 18th Dynasty, Ca. 1550 - 1295 BC.A blue turquoise-coloured, glazed wig inlay from a composite figure. The wig is decorated with corkscrew locks and a diadem, which likely connects the piece to representations of the Royal Family. For a similar example, see The Metropolitan Museum of Art, Accession Number: 35.1.37. For additional information, see Fischer, Henry G. 1965. "Reports of the Departments: Egyptian." In The Metropolitan Museum of Art Bulletin, new ser., vol. 24, no. 2 (October), p. 54. Size: 90mm x 85mm; Weight: 160g Provenance: Prince collection, 1990s-2014, acquired from Christie's.
Late Dynastic Period, Ca. 664-525 BC.A large ancient Egyptian schist pendant in the form of a writing tablet. Pierced for suspension or attachment and adorned with an inscription on the front (DHwty xnti Hrst niwt Hr ib mn... (unidentified 2 symbols) st Ra.), which reads "Thoth the foremost of the city of the carnelian, in the middle of (missing symbols translation) the throne of Re." This fine pendant seems to provide a direct link to Thoth, as Thoth was patron of scribes. For additional information, see Andrews, Carol, 1994. Amulets of Ancient Egypt. Austin: University of Texas, p. 86, 98, no. 99b. Size: 130mm x 80mm; Weight: 730g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 19th Dynasty, Reign of Rameses III, Ca. 1184 - 1153 BC .A faience tile inlay with ivory coloured pattern of petals on blue slate background. This decorative tile is thought to be associated with the ceramic art of the reign of Pharaoh Ramesses III. It was intended to fit together with similar tiles to form a horizontal pattern of petals. For additional information, see Hayes, William C. 1959. Scepter of Egypt II: A Background for the Study of the Egyptian Antiquities in the Metropolitan Museum of Art: The Hyksos Period and the New Kingdom (1675-1080 B.C.). Cambridge, Mass.: The Metropolitan Museum of Art, p. 368, fig. 232. Size: 35mm x 35mm; Weight: 15g Provenance: Prince collection, 1990s-2014; acquired from Galerie Gilgamesh; Ex. collection J. Altounian, 1922 onwards; Ex. collection Mac Gregor sold at Sotheby’s in 1922, lot 153. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Middle Kingdom, Ca. 2055 - 1773 BC.A hollow dark green glazed faience egg-shaped ball, perhaps a model of a fig. For additional information, see Hayes, William C. 1953. Scepter of Egypt I: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art: From the Earliest Times to the End of the Middle Kingdom. Cambridge, Mass. For a similar example, see The Metropolitan Museum of Art, Accession Number: 24.1.62; National Museums Liverpool, Accession Number: 16.11.06.231e Size: 50mm x 30mm; Weight: 20g Provenance: Prince collection, 1990s-2014, acquired from Galerie Gilgamesh; Ex. collection of Mr. G.M. a Paris avant 1980. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Middle Kingdom, Ca. 2055 - 1773 BC.A hollow dark green glazed faience egg-shaped ball, perhaps a model of a fig. For additional information, see National Museums Liverpool, Acc. No. 16.11.06.231e. For additional information, see Hayes, William C. 1953. Scepter of Egypt I: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art: From the Earliest Times to the End of the Middle Kingdom. Cambridge, Mass. For a similar example, see The Metropolitan Museum of Art, Acc. No. 24.1.62. Size: 60mm x 40mm; Weight: 60g Provenance: Prince collection, 1990s-2014, acquired from Galerie Gilgamesh; Ex. collection of Mr. G.M. a Paris avant 1980. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 18th Dynasty - 19th Dynasty, Ca. 1550-1185 BC.A gold earring composed of four hollow sheet tubes, triangular in section, joined together to create a ribbed exterior, the two central tubes extending in order to be threaded through the pierced ear. For additional information, see C. Andrews, Ancient Egyptian Jewellery, London, 1990, p. 23, pl. 14. Size: D:21.18mm / US: 11 5/8 / UK: X; Weight: 10g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 18th Dynasty - 19th Dynasty, Ca. 1550-1185 BC.A gold earring modelled with four hollow sheet tubes, triangular in section, joined together to create a ribbed exterior, the two central tubes extending in order to be threaded through the pierced ear. For additional information, see C. Andrews, Ancient Egyptian Jewellery, London, 1990, p. 23, pl. 14. Size: D:19.15mm / US: 9 1/4 / UK: S; Weight: 8.8g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 18th Dynasty - 19th Dynasty, Ca. 1550-1185 BC.A gold earring composed of four hollow sheet tubes, triangular in section, joined together to create a ribbed exterior, the two central tubes extending in order to be threaded through the pierced ear. For additional information, see C. Andrews, Ancient Egyptian Jewellery, London, 1990, p. 23, pl. 14. Size: D:19.96mm / US: 10 1/4 / UK: U; Weight: 8.7g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
New Kingdom, 19th Dynasty, Ca. 1323 - 1279 BC . A schist fragment from a large statue of Pharaoh Seti I with incised hieroglphic text "imn ra nb", "nTrw nb pt HKA wAst mri di anx mi ra". Translating as: Amun Re master of the gods, lord of the sky, ruler of Thebes, the beloved, may he be given life like Re (the king whose cartouche is missing). For additional information, see Scott, Nora E. 1945. Egyptian Statues. New York: The Metropolitan Museum of Art, fig. 21. The Metropolitan Museum of Art, Acc. No. 22.2.21. Size: 380mm x 70mm; Weight: 2.92kg Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Possibly Roman, 200 AD or later.A substantial, over life-size marble head. Carved for insertion into a cult statue or bust of the Greco-Egyptian god, possibly inspired by an early Hellenistic sculpture. He is depicted with majestic countenance, curling ram horns of Ammon emerging above his brow, with long beard and moustache, his deeply-drilled hair bound in a diadem and flowing in long leonine locks down to his shoulders. Visible, later repairs around the hair and horns area. Size: 420mm x 320mm; Weight: 50+kg Provenance: Private UK collection; formerly with a UK collector, acquired in 2003 from Alan Kotlar in Paris (as Roman); formerly in an old French collection since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Predynastic Period to Naqada III, Ca. 3300-3100 BC.A pottery jar of elongated ovoid form that is light reddish-brown in color. The base of the vessel is slightly convex, with a wide splayed mouth and an overhanging rim. Decoration includes triple-arching waves pressed into the rounded shoulders and a serekh inscription inscribed to the front, presumably a tomb allocation. Before the introduction of the cartouche to designate royal titulary, the name of the king was indicated through the use of a Serekh, a rectangle believed by some scholars to represent a palace facade, often set-off by the use of several horizontal or vertical lines. For a similar example, see Hayes, William C. 1953. Scepter of Egypt I: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art: From the Earliest Times to the End of the Middle Kingdom. Cambridge, Mass, p. 43, fig. 32 . Size: 700mm x 290mm; Weight: 7.7kg Provenance: Prince collection, 1990s-2014, acquired from Sand of Time, May 2006. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
A Collection of antique & vintage jewellery; Brooch fitted with two Egyptian Scarab Beetles, 9ct yellow gold and coral necklace, Coral necklace with plated catch, Freshwater pearl necklace with a 925 silver gilt clasp and earrings, Victorian floral design brooch, a pair of antique horn and gold hoop earrings and contemporary art glass necklace with matching earrings.
To be sold to benefit the CAF Euergetes Charitable Trustλ Art Deco coral, onyx and diamond jabot pin/brooch, Cartier, 1920s and later, and a pair of coral, onyx and diamond earrings, the jabot pin of Egyptian inspiration, designed as stylised lotus motifs set with sections of polished onyx and coral and circular- and single-cut diamonds, jabot pin length 8.5cm, top signed Cartier, base unsigned, possibly later, top with later brooch fittings; the top section attaching into a later giardinetto brooch fitting of similar design, length 4.9cm, unsigned; together with a pair of modern pendent earrings, each composed of an onyx bead suspending a line of circular-cut diamonds accented with polished onyx, terminating in a polished coral bead, length 4.5cm, each, post fittings, unsigned
predominantly 20th century, comprising a Uzbek ikat panel, a Turkish bag face, an Islamic applique panel, c.1930s, a French Art Deco 'Egyptian' metalwork assuit scarf and two Middle Eastern hats, ikat 130 x 90cm,quilted wall hanging 175 x 248cm (8)Provenance: The Hildegard Heygate Textiles Collection.
A 1920s Czech Max Neiger Gablonz Art Deco Egyptian revival pressed glass Pharaoh bracelet. The head with oval plaque set embossed jade effect head of a Pharaoh and snake flanked by enamelled wings decorated with Peking glass cabochons on eight strand chain. The clasp decorated with a smaller Pharaoh's head. Weight 32g. Measures 17.5cm. Safety chain. All weights measurements and sizes are approximate.
Late to Ptolemaic Period, Ca. 664-30 BC.A charming mummiform ushabti of a light stone colour, with the characteristic blue glazed faience present on the lower half, which has been repaired. The figure is adorned with a tripartite wig and has relatively naturalistic facial features, including rounded eyes, a browbone and visible ears. The arms are held up to the chest, once clasping objects that are now difficult to discern. The figure is flat backed and has a black, painted hieroglyphic inscription running down the front. Shabtis were servant figures that were placed in Egyptian tombs, that carried out the tasks required of the deceased in the afterlife. Inscriptions on the front of such figures usually denoted the name of the owner and included a phrase sending them to action. Size: 100mm x 30mm; Weight: 28g Provenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.
Third Intermediate Period, Ca.1075 - 656 BC.A lovely mummiform ushabti of a light stone colour, with the characteristic blue glazed faience remaining on the feet. The figure has a painted seshet hair fillet adorning a tripartite wig. The arms are crossed, with two long objects clasped in the hands, likely hoes. The figure is flat backed and has a black, painted hieroglyphic inscription running down the front. Shabtis were servant figures that were placed in Egyptian tombs, that carried out the tasks required of the deceased in the afterlife. Inscriptions on the front of such figures usually denoted the name of the owner and included a phrase sending them to action. Size: 90mm x 35mm; Weight: 26g Provenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.
A GILT BRONZE 'BEAR' WEIGHT, HAN DYNASTY, EX ADOLPHE STOCLET COLLECTION 漢代銅鎏金熊鎮,前ADOLPHE STOCLET收藏Published: A. Koop, Early Chinese Bronzes, London, 1924, page 70, pl. 92.Georges A. Salles and Daisy Lion-Goldschmidt, Adolphe Stoclet Collection, Part I, Brussels, 1956, pages 372-373. China, 206 BC-220 AD. Powerfully cast as a coiled front-facing bear with a menacing expression, its mouth wide open baring its sharp teeth, the round ears pricked up, the fur neatly incised and claws well detailed. The round weight with a small loop to the interior.Provenance: From the collection of Adolphe Stoclet, and thence by descent in the Stoclet family. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Condition: Magnificent condition, commensurate with age. Old wear, minor nicks and scratches, rubbing to gilt. The lead or cement core to the interior has been removed. The bronze with a rich, naturally grown patina overall and scattered soil, malachite and cuprite encrustations.Weight: 70.5 gDimensions: Diameter 5.5 cm Expert's note: The present lot once had a lead or cement core, enabling its usage as a weight. A small loop to the interior, designed to secure this core, is still in place. The removal of the core may indicate usage as an ornament at some point in its very long history.Weights crafted from precious materials such as bronze and jade, often gilded or inlaid with gold, silver or gemstones, were produced in sets of four and served a practical function of anchoring down woven mats for seating. Mats and corner-weights were believed to have been used at banquets, even those laid out in tombs. Inlaid animal-form weights were discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels.The bear has been a popular totemic emblem in China since ancient times. China's foundation myths hold that the legendary Yellow Emperor, or Huang Di, early on lived with his tribe in the northwest, presumably in modern Shanxi Province, but then later migrated to Zhuolu, in present-day Hebei Province, where he became a farmer and tamed six different types of ferocious beasts, including the bear, or xiong, with which the Yellow Emperor ever since has been linked. According to legend, Gun — said to have been the great-grandson of the Yellow Emperor and the father of Yu the Great, or Da Yu — stole a special soil with which he planned to build dikes in an attempt to control the Yellow River's constantly recurring and very devastating floods. He failed in his mission, however, and, as punishment for his theft, was killed by Zhurong, the God of Fire. Gun's corpse turned into a yellow bear, or huangxiong, and jumped into a pool. A while later, a golden bear, alternatively said to be a golden dragon, emerged from the corpse's stomach and ascended into heaven, where the Yellow Emperor instructed it to complete his father's work in taming the Yellow River's waters. That bear turned out to be Da Yu, who — according to popular belief — heroically controlled the floods and became the mythological forefather of China's Xia dynasty. Therefore, the bear has been prominently associated with legendary rulers and Chinese national foundation myths since the earliest times.Bears are native to China, their presence there known since antiquity. They were kept in Han imperial zoos and parks, where the emperor and his entourage enjoyed watching them in performance or in combat with other animals. On the other hand, they were perceived as enlightened creatures and it was believed that they resided in spiritual mountains and possessed the ability to intermediate between heaven and earth. Bears have also been linked with military prowess, shamanism, and immortality. As a corollary, it might be noted that the words for 'bear' and 'virility' are exact homonyms, pronounced xiong. According to the 'Rites of Zhou', Zhou Li, edited during the Han dynasty, bears were employed in exorcism rituals, their skin worn over the head of the performer who, holding a lance and a shield, led the officials to perform the Seasonal Exorcism by searching through houses and driving away pestilences. See J. Lagerway, Early Chinese Religion. Part One. Shang through Han (1250 BC-220 AD), Boston, 2008, page 287. Auction result comparison: Type: Related Auction: Christie's New York, 24 September 2020, lot 888 Price: USD 32,500 or approx. EUR 35,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze circular mat weight, Han dynasty Expert remark: Compare the related circular form and manner of casting and gilding. Note the size (8.6 cm). 漢代銅鎏金熊鎮,前ADOLPHE STOCLET收藏中國,西元前 206 年至西元 220 年。 正面熊身盤成一圈,表情凶狠,齜牙咧嘴,圓耳豎起,細節生動。圓形鎮,內部有一個小環。出版:A. Koop,《Early Chinese Bronzes》,倫敦,1924年,第 70頁,圖 92。 Georges A. Salles和Daisy Lion-Goldschmidt,《Adolphe Stoclet Collection》,上冊,布魯塞爾,1956年,第372-373頁。 來源:Adolphe Stoclet 收藏,是 Stoclet 家族的後裔。Adolphe Stoclet (1871-1949 年)是一位比利時工程師、金融家和著名收藏家。他出生於比利時銀行家家庭,父親去世後成為比利時興業銀行董事。他與Suzanne Stevens (1874-1960)結婚,她是藝術評論家、歷史學家、收藏家,也是商人Arthur Stevens(1825-1909)的女兒以及畫家Alfred Stevens(1823-1906)的侄女。Stoclet夫婦與巴黎和維也納的前衛藝術圈有聯繫,在那裡他們遇到了Josef Hoffmann(1870-1956),後者設計了布魯塞爾著名的Stoclet宮。其餐廳的壁畫由Gustav Klimt(1862-1916)繪製。Palais Stoclet 如今已被聯合國教科文組織列為世界遺產,其奢華的環境是有史以來最重要的藝術收藏之一,其中包括埃及和中國雕塑、中世紀意大利繪畫和金屬製品、琺瑯和文物,拜占庭和羅馬時期的藝術品以及前哥倫佈時期的藝術。 品相:磨損,輕微刻痕和劃痕,鎏金有磨損。內部的鉛或水泥芯已被移除。表面自然包漿,並散佈著土壤、紅藍色結殼。 重量:70.5 克 尺寸:直徑 5.5 厘米 此類銅鎮用於壓住用於座椅或棋盤遊戲六博的編織墊的角部。在中山靖王劉勝(西元前 113 年)的王后窦绾的墓中,還發現了動物形鎮,以及食物和酒水器皿。它們通常被製成動物形狀,盤繞成圓形,或者製成人物形狀,甚至山形。 一般為銅鎮,鎏金,嵌寳或錯金銀,銅鎮體現了其所有者的崇高社會地位。 熊在漢代是祥瑞威武之獸。熊與漢代的思想觀念、熊圖騰信仰等密不可分。 從民俗文化意義上講,它們皆具有驅邪避惡、保護墓主人靈魂不受侵擾、肉體不受侵害的作用,最終目的是説明墓主人升入仙界。 拍賣比較: 形制:相近 拍賣:紐約佳士得,2020年9月24日,lot 888 價格:USD 32,500(相當今日EUR 35,000) 描述:漢鎏金銅虎形席鎮 專家註釋:比較相近的圓形的外形、鑄造風格和鎏金。請注意 尺寸 (8.6 厘米)。
A LARGE GREEN AND RUSSET JADE FIGURE OF A THREE-LEGGED TOAD, MING DYNASTY 明代大型三足玉蟾China, 1368-1644. The pebble boldly carved in the round as a crouching toad with its single hind leg tucked beneath. The animal well detailed with wrinkles on its back, large protruding eyes, and incised feet. The opaque stone is of a mottled green and dark-gray tone with russet patches and distinctive veins.Provenance: Ute Asboth, Galerie Asboth, Vienna, c. 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of an expertise written and signed by Ute Asboth, with a stamp from Galerie Asboth, confirming the dating above, accompanies this lot. Ute Asboth (c. 1927-2018) began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Some pieces from Ute Asboth's private collection reside now in the Museum of Ethnology, Vienna (today the Weltmuseum). Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with old wear, minor signs of weathering and erosion with associated small losses. The stone with natural fissures, some of which have developed into small hairline cracks. Few minor nicks.Weight: 724 gDimensions: Length 12 cm The toad enjoyed popularity in late Ming jade carving due to its association with Daoism and continued into the Qing dynasty. The three-legged toad in particular became so popular an image that its meaning became synonymous with the Daoist immortal Liu Hai. The word for toad is homophonous with offspring (wa), which means the toad came to symbolize the wish for multiple offspring to continue the family line.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 June 2016, lot 25Estimate: HKD 300,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: A sage-green jade figure of a toad, late Ming dynasty to the early Qing dynasty Expert remark: Compare the related pebble-form and pose. Note the color of the jade.Auction result comparison: Type: Related Auction: Christie's London, 11 November 2011, lot 1221Price: GBP 11,875 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A celadon jade carving of a toad, 17th century Expert remark: Note the size (6.3 cm).Auction result comparison: Type: RelatedAuction: Sotheby's London, 13 December 2021, lot 109Price: GBP 5,040 or approx. EUR 6,900 converted and adjusted for inflation at the time of writingDescription: A celadon and black jade figure of a toad, Ming dynastyExpert remark: Compare the pose. Note the size (6 cm). 明代大型三足玉蟾中國,1368-1644年。玉料雕刻成一隻臥蟾,一條後腿藏在身下,背部有皺紋,大眼突出,細節十分精細。不透明玉料呈斑駁的綠色和深灰色調,帶有黃褐色斑紋理。 來源:Ute Asboth ,維也納Asboth藝廊,約2000年;Maria與Johannes Nickl收藏,購於上述藝廊,在同一家族保存至今。隨附一份由Ute Asboth出具的鑒定書複印件,上還可見 Asboth藝廊印章,確認斷代。Ute Asboth (約1927-2018) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯,之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版,她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作,並策劃了幾個著名的展覽。Ute Asboth 的一些私人收藏品現在收藏在維也納民族學博物館(現為世界博物館)。品相:狀況良好,有磨損,輕微風化,小缺損和小劃痕。玉料有天然裂隙,有的已發展成細小的裂紋。 重量:724 克 尺寸:長 12 厘米 蟾蜍因與道教有關,在晚明玉雕中極受歡迎,一直延續到清代。其中,“劉海戲金蟾”的故事廣爲流傳。蟾蜍即蛙,字與“娃”諧音,意思是蟾蜍來了,象徵著多子多孫。拍賣結果比較: 形制:相近 拍賣:香港蘇富比,2016年6月1日,lot 25 估價:HKD 300,000(相當於今日EUR 40,500) 描述:明末至清初青玉蟾蜍 專家評論:比較相近大眼突出和姿勢。請注意玉石顏色。 拍賣結果比較: 形制:相近 拍賣:倫敦佳士得,2011年11月11日,lot 1221 價格:GBP 11,875(相當於今日EUR 21,500) 描述:十七世紀青白玉蟾蜍 專家評論:請注意尺寸(6.3厘米)。 拍賣結果比較: 形制:相近 拍賣:倫敦蘇富比,2021年12月13日,lot 109 價格:GBP 5,040(相當於今日EUR 6,900) 描述:明青玉蟾蜍 專家評論:比較姿勢。請注意尺寸(6厘米)。
A JAIPUR BLUE POTTERY 'GANESHA' FLASK, INDIA, RAJASTHAN, 19TH CENTURYFinely molded and painted in bright cobalt-blue and turquoise-green depicting Ganesha seated in lalitasana, the primary hands flat on his lap, the secondary hands holding an axe and a rope, the elephant head adorned with a tripundra surmounted by a foliate crown, his face with a calm expression.Provenance: From the collection of Peter Millett. Peter Millett (1925-2016) was born in Karwar, Karnataka, on the west coast of India, where his father was serving in the forestry department of the British administered Indian Civil Service. His father-in-law encouraged him to take up a career in tea plantation management, and he moved with his wife and three daughters to the Pambra Estate in Kerala in 1958. There he developed a fondness for the working elephants on the estate and immersed himself in local culture. He became fluent in Tamil and after his eventual retirement in England, he started to pursue his favorite pastime, antique auctions with Indian art, a field in which he was a respected expert. Condition: Good condition with minor wear and manufacturing irregularities. Some minor glaze losses and the foot with some small chips. An old repair to one of the tips of the foliate rim mouth.Weight: 683.5 gDimensions: Height 30 cm The vessel with a lobed mouth decorated with acanthus leaves, strap handles the neck, the foot and neck with petal borders, the short sides with scrolling flowerheads.Blue pottery is widely recognized as a traditional craft of Jaipur. The name 'blue pottery' comes from the eye-catching cobalt blue dye used to color the pottery. It is one of many Eurasian types of blue and white pottery and is related in its shapes and decoration to Islamic and Chinese pottery. Jaipur blue pottery, made out of ceramic frit material similar to Egyptian faience, is glazed and low-fired. No clay is used: the 'dough' for the pottery is prepared by mixing quartz stone powder, powdered glass, multani mitti (Fuller's Earth), borax, gum, and water.Literature comparison:Compare a closely related flask also depicting Ganesha, dated to the late 19th century, in the Albert Hall Museum, Jaipur, accession number 8131. Compare further related flasks illustrated in Kristine Michael, 'Earthen Jewels: Pottery Treasures from the Hendley Collection', in Chandramani Singh (ed.), Treasures of the Albert Hall Museum, Jaipur.
An Egyptian limestone canopic jar of human-headed Imsety Third Intermediate Period, circa 1069-664 B.C.The jar with four columns of faded text, 42cm highFootnotes:Provenance:Hugh Stanley Russell (1924-2000) collection, U.K., formed ca. 1950s-1970s; and thence by descent.The Hugh Stanley Russell Collection; Bonhams, London, 20 October 2005, lot 36.with Rupert Wace Ancient Art, London.The Maria Mooers collection, Texas, until 2019.For further information on this lot please visit Bonhams.com
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