John William Godward (1861-1942)The Pompeian Bath, signed and dated 1890, oil on canvas, 55 x 24 1/2 cmsProv: Messrs. Thomas McLean, London 1890 sold at R A for £60; Messrs Percy Polak Ltd., London, sold to Messrs. M. Newman, London 18th Oct 1946; sold to Middle East or Greek Collection; Sotheby's London, 1st Jul 2004 lot 333 (£55,575 inc BP); Private CollectionExh: London, Royal Academy of Art Summer Exhibition, 1890 No.42; Godward Retrospective Exhibition, Christie's New York, 2nd-12th February, 1998Lit. Swanson, Vern G: 'J W Godward 1861-1922 The Eclipse of Classicism' (1890-99) Condition Generally Good. Light surface craquelure, most noticeable to area above sitters' head. Triangular flake of paint loss to lower left corner edge approx 1.5 cms high and small slither just above. Another similar area of paint loss just below date. Not lined.Small repair to sitters' left foot and to marble slab just above date discernible under u/v light.Frame with slight knocks and losses with small piece missing top right corner.
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Heraldry.- Bara (Jerome de) Le Blason des armoiries, second edition, numerous woodcut illustrations of arms, several with ?later hand-colouring towards the rear, small later watercolour of arms to rear endpaper, papal arms with hand-colouring laid down to rear pastedown, bookplates to front, title and following two ff. with paper repair to top fore-edge corner, final leaf laid down to sheet, occasional faint spots or soiling, nineteenth century half-calf, spine gilt, folio, Lyon, Bartholemew Vincent, 1581.*** This classic masterpiece about the art and science of heraldry, includes historical and fictional characters, such as Father John, Alexander the Great, Knights of the Round Table, figures from Greek and Roman mythology, European kings and aristocracy. First edition printed Lyon 1579.
A George VI Art Deco hallmarked silver mounted cigarette box. The box having an engine turned design with greek key banding. Inscription to the front '25th September 1935'. The box opening with a double hinged lid and having a weighted base and wood interior. Hallmarked for Chester, 1935. Makers mark T&S for E J Trevitt & Sons. Weight approx 458.4g. Measures approx 15.5cm x 8.8cm.
(Designer Binding.) A handmade "Art Binding" by designer bookbinder Mark Cockram, 'Reliquary No1', based on a 3rd Century Greek "Coptic" Binding, constructed of wood, copper, brass, lead and gold leaf, being one of his early works, approx size 24 x 12 x 5.5cm. Mark Cockram opened his first studio in Lincoln in 1992 and established 'Studio Five' in Barnes, London in 2003. Fellow of Designer Bookbinders since 2001, and a Brother of the distinguished Art Workers Guild, he has also been commissioned to bind works by Man Booker Prize finalists seven times. His work can be found in the British Library, the Grolier Club and the Victoria & Albert Museum, with some of his works also having been sold at Bonhams.
Grey SchistGandhara , 4th century Dimensions: Height 20 cm Wide 10 cm Depth 4 cm without baseWeight: 1411 grams with base Hariti in Buddhist culture is believed to be the Mother of Children and Fertility and has similarities with the Greek goddess Tyche. Gandhara art was heavily influenced by Greco-Roman art which can be very well seen in the sculptures of that time. This deity is seated on a stool wearing a toga and a necklace with large circular pendants. Her wavy hair is done up underneath a flat-topped crown, her face is smiling. Her right hand is missing, most likely she was holding grapes or a pomegranate. Hariti’s iconographic likeness to the Greek goddess Tyche via her wheat and flat topped crown further indicates the Greek influence on the region.
PAIR OF OAK, LARCH, AND EBONY MARQUETRY SLATE-TOPPED CABINETS, ATTRIBUTED TO GEORGE BULLOCK EARLY 19TH CENTURY in the Greek Revival style, the grey slate tops above long frieze drawers and pairs of ebony moulded panel doors inlaid with stylised palmettes. anthemions and flower heads, the corners marked with bullseye roundels, enclosing shelved interiors, on bracket feet raised on integrated plinth bases (2) 85cm wide, 97cm high, 45cm deep Note: Several cabinets associated with Bullock are decorated with the same pattern on the door panels and further details are given in Clive Wainwright ed., George Bullock, Cabinet-maker, 1988, pp. 65-66, cat. no. 4 and fig. 24, pp. 104-5, cat. nos. 40-1. The cabinet is also typical of his furniture with its moulded top and heavy plinth. For an example attributed to George Bullock with a similar raised plinth, see Frances Collard Regency Furniture, pg. 112; and for an example with matching inlay to the doors, also attributed to Bullock and supplied to Blair Atholl, Perthshire, in 1817, see the same publication, pg. 134. A cabinet with similarities to the present pair and with identical marquetry to the doors is in the collection of the Victoria & Albert Museum, Access. W.32:1 to 33-1979. The design for the marquetry is among a collection of tracings, originally bound in a scrapbook inscribed 'Tracings by Thomas Wilkinson from the designs of the late Mr. George Bullock 1820' (Birmingham Museum and Art Gallery, unbound no.240). The tracing for this particular design is dated August 1816 (unbound number 240).
The 1st Anniversary of the Euro Two Gold Coin Prestige Set Obverse the superimposed effigies of SS. MM. the Kings of Spain· PRIMER ANIVERSARIO EURO · JUAN CARLOS I Y SOFÍA · 2003 Reverse the Greek myth of the Rapture of Europe, from which its continent is named 200 EURO M 13.5 grams 30mm Ø Obverse design is inspired by the octopuses represented in Minoan art, listing the names of the twelve countries in the euro zone in a series of curves: "Belgique/België, Deutschland, Eire, España, France, Ellada, Italia, Luxembourg, Nederland, Österreich, Portugal, Suomi". Spread over the four ends of the "tentacles", the three French sides of the euro coins, and the initials "RF". The twelve stars of Europe and the face value "20 EURO" complete the composition which evokes the French unicity in the diversity of Europe Reverse portrait of the goddess Europe with stars in her hair, above 12 monetary acronyms "€" in an arc. To the left of the portrait and below flags on mats symbolizing the European flags. 17 grams 31mm Ø boxed with certificate 0113/1000 (2) Condition Report:Available upon request
GERALD LESLIE BROCKHURST 6 ETCHINGS: CORINNE; SEULE; MAUREEN; STUDY FOR A DECORATION; FRANCIS MCNAMARA; HEAD OF A GIRL Etching, signed in plate, signed in pencil to margin;SEULE, Etching, signed in pencil to margin;MAUREEN, Etching, signed in plate, signed in pencil to margin;STUDY FOR A DECORATION, Etching, signed in pencil to margin;FRANCIS MCNAMARA, Etching, signed in plate, signed in pencil to margin;HEAD OF A GIRL, Etching, signed in plate, signed in pencil to margin (6) plate sizes: 14cm x 10cm (5.5in x 4in); 15cm x 17.5cm (6in x 7in); 11.5cm x 7.5cm (4.5in x 3in); 15.75cm x 12cm (6.25in x 4.75in); 12cm x 9.5cm (4.75in x 3.75in); 9.5cm x 7cm (3.75in x 2.75in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
GERALD LESLIE BROCKHURST 4 ETCHINGS: CHARLES CLAUDE CARPENTER - 1931; MR WIGGIN - 1932; MRS ALBERT H. WIGGIN - 1932; DR CHARLES LEE REESE Etching, signed and dated in plate, signed in pencil to margin;MR WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;MRS ALBERT H. WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;DR CHARLES LEE REESE, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 30cm x 22cm (11.75in x 8.75in); 25cm x 18.5cm (9.75in x 7.25in); 25cm x 19cm (9.75in x 7.5in); 20cm x 16.5cm (8in x 6.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
GERALD LESLIE BROCKHURST 5 ETCHINGS: MARQUETT; HENRY BELL - 1930; PEPITA; A BALLYNAKILL WOMAN; A CONNEMARA PEASANT Etching, signed in plate, signed in pencil to margin;HENRY BELL, Etching, signed and dated in plate, signed in pencil to margin;PEPITA, Etching, signed in plate, monogrammed 'C. P.' in plate, signed in pencil to margin;A BALLYNAKILL WOMAN, Etching, signed in plate, signed in pencil to margin;A CONNEMARA PEASANT, Etching, signed in plate, signed in pencil to margin (5) plate sizes: 21.5cm x 17.5cm (8.5in x 6.75in); 21cm x 15.5cm (8.25in x 6.25in); 11.5cm x 11cm (4.5in x 4.25in); 14cm x 10.5cm (5.5in x 4.25in); 16.5cm x 11.5cm (6.5in x 4.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
GERALD LESLIE BROCKHURST 4 ETCHINGS: RANUNCULUS - 1921, ELIZABETH; PAQUITA; CHIQUITA Etching, signed in pencil to margin;ELIZABETH, Etching, signed in plate, signed in pencil to margin;PAQUITA, Etching, signed in plate, signed in pencil to margin;CHIQUITA, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 20cm x 15cm (8in x 6in); 15cm x 10cm (6in x 4in); 14cm x 10.75cm (5.5in x 4.25in); 16cm x 13cm (6.25in x 5.25in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
The Winged Victory of Samothrace, also known as the Nike of Samothrace, is a renowned ancient Greek sculpture that is considered one of the masterpieces of Hellenistic sculpture. Here are key points about the Winged Victory of Samothrace:1. **Date and Period:** The sculpture is believed to have been created around the 2nd century BCE, during the Hellenistic period of ancient Greece. The exact date and sculptor are unknown.2. **Discovery:** The Winged Victory of Samothrace was discovered on the island of Samothrace (Samothraki) in the northern Aegean Sea. It was found by the French consul and amateur archaeologist Charles Champoiseau in 1863.3. **Location:** The statue was originally installed at the Sanctuary of the Great Gods on the island of Samothrace, where it likely commemorated a naval victory. Today, it is displayed at the Louvre Museum in Paris, France.4. **Material and Technique:** The sculpture is made of white marble and stands on a grey marble base. It is sculpted in the round, and the drapery of the figure's clothing is skillfully carved to create a sense of movement.5. **Depiction:** The Winged Victory of Samothrace depicts Nike, the Greek goddess of victory. The sculpture represents Nike standing on the prow of a ship, with her wings outstretched and billowing garments. The figure is missing its head and arms, but the dynamic pose and flowing drapery convey a sense of motion and triumph.6. **Symbolism:** The statue is often interpreted as a celebration of a naval victory, and Nike is depicted as if she is descending from the heavens to announce the triumph. The dynamic composition and the portrayal of the goddess in mid-flight contribute to the sense of drama and victory.7. **Artistic Style:** The Winged Victory of Samothrace is celebrated for its dynamic and theatrical composition. The drapery, carved with deep folds and realistic details, enhances the sense of movement. The sculpture reflects the Hellenistic artistic emphasis on realism and naturalism.8. **Restoration:** Over the years, efforts have been made to restore and preserve the Winged Victory of Samothrace. The statue has undergone conservation work, and it is displayed on a reconstructed ship's prow to evoke its original setting.9. **Influence:** The Winged Victory of Samothrace is considered a masterpiece of ancient Greek sculpture and has had a significant impact on Western art. Its dynamic composition and the use of space have inspired artists and sculptors throughout history.10. **Public Reception:** The statue is one of the most popular and iconic exhibits at the Louvre Museum. It continues to attract visitors from around the world who admire its beauty, symbolism, and historical significance.The Winged Victory of Samothrace is a testament to the artistic achievements of the Hellenistic period and remains a symbol of victory, beauty, and classical artistry.Measures 10.25 height.Cold cast resin.
John William Waterhouse (1849–1917) was a British Pre-Raphaelite and Neoclassical painter known for his depictions of classical mythology, historical and literary subjects, as well as romantic and allegorical themes. Here are key points about John William Waterhouse:1. **Early Life and Education:** John William Waterhouse was born in Rome on April 6, 1849, to English parents. His family moved back to England when he was five years old. He showed an early interest in art and began his formal artistic training at the Royal Academy of Art in London.2. **Pre-Raphaelite Influence:** Waterhouse was influenced by the Pre-Raphaelite Brotherhood, a group of 19th-century English artists who sought to revive the detailed and vibrant approach to art that characterized Italian art before Raphael. The Brotherhood emphasized intense colors, intricate details, and a return to nature.3. **Academic Success:** Waterhouse's works were well-received at the Royal Academy exhibitions, and he won several awards during his career.4. **Subjects and Themes:** Waterhouse's paintings often featured scenes from mythology, literature, and history. He was particularly drawn to the works of William Shakespeare, Alfred Lord Tennyson, and the Arthurian legends.5. **Classical Mythology:** Many of Waterhouse's iconic paintings depict figures from classical mythology, including nymphs, sirens, and characters from Greek and Roman mythology. Notable examples include "Hylas and the Nymphs" and "The Lady of Shalott."6. **Use of Symbolism:** Waterhouse employed symbolism in his works, using visual elements to convey deeper meanings and emotions. His paintings often had a dreamlike quality.7. **Famous Works:** Some of Waterhouse's well-known paintings include "The Lady of Shalott," "The Soul of the Rose," "The Lady of Shalott Looking at Lancelot," and "Echo and Narcissus."8. **Marriage and Family:** Waterhouse married Esther Kenworthy in 1883, and they had two children. His wife often served as a model for his paintings.9. **Death:** John William Waterhouse died on February 10, 1917, in London.10. **Legacy:** Waterhouse's works continue to be celebrated for their beauty, attention to detail, and evocative storytelling. His paintings are often associated with the romantic and idealized aspects of the Pre-Raphaelite movement.John William Waterhouse's art reflects a blend of Pre-Raphaelite principles, classical themes, and a fascination with mythology. His ability to capture the emotional and symbolic aspects of his subjects has contributed to the enduring popularity of his paintings.Measures 24 x 30 (image), 32.25 x 38.25 (framed).Sold "after" Waterhouse.Oil on canvas.
Art. Specimens of the Old Masters, n.d. [c. 1865], an album of 60 numbered albumen prints, two MS contents leaves to verso, contemporary cloth gilt, marbled endpapers, 4to, Harrison (J.E.) & MacColl (D.S.), Greek Vase Paintings, London: T. Fisher Unwin, 1894, full-page plates, the preliminary text margin stained, ex-Kensington and Chelsea library, their label and blind-stamps in places, disbound, folio (45 x 35cm), Hamerton (Philip Gilbert), Landscape, With Original Etching and many Illustrations from Pictures and Drawings, London: Seeley & Co., 1885, original publisher's calf over cloth boards, chipped and worn, uncut, 4to The Magazine of Art, 1884, 1890, 1891 & 1899, plates and in-text illustrations, three volumes in original publisher's cloth, 4to, The Art Journal, 1889, illustrated, contemporary morocco over cloth, worn, folio, an Edwardian collection of Birket Foster colour prints, loosely-inserted Christmas card dated 1906-7, contemporary red cloth, folio (28 x 21.4cm), etc., (10) Sold as a collection of plates and as such not liable to return.
19th century Napoleonic Prisoner of War carved bone model of an ancient Greek Trireme “three-rower” Galley ship, mounted on two turned bone supports, in glass and ebonised wood display case, slight damages, some pieces loose and requires some re-rigging, ship model dimensions approx. W: 30cm x H: 18cm x D:14cm, cabinet dimensions overall W:47cm x H:30cm x D:23cm. Provenance: The Eyres Collection of French Napoleonic Prisoner-of-War Works of Art and Antique Weapons, assembled over many years by a Devon collector. Sold on the instructions of the Executor.
Ca. AD 300.A gold finger ring of Hening type X. Its D-shaped hoop expands gradually to form a recessed setting for a carnelian intaglio engraved with the standing figure of Mercury (Greek Hermes). He is portrayed in a contrapposto stance, with his head turned to his left as he holds what appears to be caduceus - his snake-entwined staff. Size: D:18.54mm / US: 8 1/2 / UK: Q 1/2; Weight: 14.64g Provenance: Private London collection, acquired on the UK art market pre 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100-300.A gold finger ring of Guiraud type 2c, composed of a round hoop with a tapering profile and a circular intaglio etched with a bust of Minerva (Greek Athena). The goddess of wisdom and strategic warfare is portrayed in her left profile wearing a Corinthian-type helmet, her typical attribute. Size: D:15.7mm / US: 5 / UK: J 1/2; Weight: 4.57g Provenance: Private London collection, acquired on the UK art market pre 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100-300.A red stone intaglio engraved with a left-facing portrait of Mercury (Greek Hermes), the god of communication, travel, trade, and theft. His head is flanked by caduceus staffs, one to each side. The intaglio is set in a high carat (20-22ct), possibly later gold ring with a carinated hoop, sculpted shoulders and a raised bezel cell with ribbed walls and granules.Size: D:18.95mm / US: 9 / UK: R 1/2; Weight: 13gProvenance: Private London collection, UK art market before 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 2nd-3rd century AD.A glass medallion with a relief scene of Leda and the Swan set in a gold pendant setting. Leda, a princess from Aetolia, who would later become the queen of Sparta, was carried off by Zeus, king of the gods, in the form of a swan. According to a later mythological tradition, their sexual union would lead to the birth of Helen and Polydeuces, two major figures in Greek mythology. Size: 20mm x 18mm; Weight: 2g Provenance: Property of a central London gallery, acquired on the US art market; Ex. Private Collection, New York, 2000s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100-200.A gold finger ring with a slender flat-section band and a sizable bezel set with an emerald intaglio portraying the goddess Victory, often identified in Greek mythology as Nike. Victory was a divine figure and the personification of triumph and success, often depicted with wings to emphasize the swift and inevitable nature of triumph. For these reasons, she was a popular choice of subject for rings of high-ranking Roman military men and soldiers. Authentication report by Sami Fortune, ancient jewellery specialist. Size: D:16.71mm / US: 6 1/4 / UK: M; Weight: 4g Provenance: Private London collection, UK art market before 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Hellenistic, 300 - 100 BC.A votive offering moulded from terracotta in the shape of a pomegranate which has been cut open into two halves. This Terracotta Pomegranate may have been used to decorate a home. For the person that owned it, it may have represented an ancient Greek myth involving the goddess Persephone and the god Hades. Size: 85mm x 80mm; Weight: 240g Provenance: Prince collection, 1990s-2014, acquired from Rhea Gallery, Switzerland. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 5th century BC.A red-figure skyphos, characterised by a base ring supporting a deep cup with two horizontally positioned handles opposite each other. Both sides feature a depiction of an owl facing frontally amid vegetal branches. In Greek mythology, the owl holds significance as a patron of the city of Athens and a sacred bird of the goddess Athena. For a similar example, see The Metropolitan Museum of Art, accession number: 2001.761.5. Item comes with a professional historical report from Ancient Report Specialists. Size: 75mm x 140mm; Weight: 135g Provenance: Property of a London gallery, acquired on a European art market; formerly acquired in Brussels, Belgium. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. Late 4th-3rd Century BC. An Attic red-figure bell krater, decorated with a Dionysiac scene attributed most probably to a Telos painter. The vessel features a stylised wreath pattern below the rim, egg-and-dart and palmette motifs around the handles, and a Greek key ornament on the lower part of the body. On one side is a beautiful scene presenting Dionysus and a female figure, most probably Ariadne. Ariadne is the focal point of the scene, painted nude with lavish use of added white. She holds a fan and has an elaborate cloak draped at her shoulders. Dionysus sits above and to the right, nude with a headdress and holding a thyrsus. The pair is surrounded by four satyrs in various dynamic poses. On the other side is a well-known scene on Late Classical kraters, depicting three standing male figures wrapped tightly in himatia, one brandishing a ritual implement. The item is accompanied by a TL report from QED. Item comes with a professional historical report from Ancient Report Specialists. Size: 390mm x 380mm; Weight: 5.45kg Provenance: Property of a London ancient art gallery; formerly acquired on the Spanish art market; formerly in a private collection, Cannes, France; previously acquired at Pierre-Eric Becker Gallery, Cannes, 1998. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. Late 5th century AD.A gold finger ring featuring a slender hoop that gently expands at the shoulder to support a red jasper intaglio. The gem is engraved with a block monogram comprised of Greek lettering. A monogram is a design consisting of two or more combined letters, typically initials, to form a single symbol. These symbols were often used as recognisable and personalised marks, representing names or titles of individuals, often associated with the wearer of the ring.Size: D:18.34mm / US: 8 1/4 / UK: Q; Weight: 8.8g Provenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 10th-12th century AD.A gold finger ring with a round-section hoop expanding to form a rectabgular bezel embellished with a cruciform monogram - a symbolic representation crafted from one or more letters, frequently sourced from the Greek alphabet. Monogram reads: N-A-]-OU-? -> ?????? ????????? (Narses Spathariou) Narses was, with Belisarius, one of the great generals in the service of the Byzantine Emperor Justinian I during the Roman reconquest that took place during Justinian's reign. Size: D:17.73mm / US: 7 1/2 / UK: O 1/2; Weight: 12.93g Provenance: Private London collection, acquired on the UK art market pre 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Western Europe, Ca. AD 1500.A gold finger ring with a flat-section hoop and a flattened bezel engraved with an 'IHS' Christogram. The bottom side of the bezel features a low-relief cross. The "IHS" represents the first three letters of the Greek name for Jesus, "??????" (I?sous). Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 9g Provenance: Private London collection, acquired on the UK art market pre 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 200-300.A rectangulars schist panel featuring a vine tendril emerging from the base in the lower right corner. The tendril alternates with well-defined leaves, each exhibiting distinct veins, extending to the upper-left corner. Beneath this vine tendril, a scene unfolds, portraying figures in a Bacchic procession. A nude, bearded man is seated atop a mountain goat, surrounded by a group of female dancers. One of the women supports the figure to prevent him from falling off the animal, while the other two look towards a male figure at the left of the scene. This may be a rare Gandharan rendition of the Return of Hephaestus, a famous myth often featured in Greek art involving Dionysus. Item comes with a professional historical report from Ancient Report Specialists. Size: 550mm x 240mm; Weight: 50+kg 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.
Ca. 600 BC.A finelly modelled helmet made of hammered bronze sheet, with a rectilinear opening for the face, long, pointed cheek pieces, horizontal ribbing on the forehead framing the upper facial opening, and twin parallel ridges on the crown, each flanked by a group of three later ribs in low relief, engraved band between. The back and sides flare out to guard the neck and has three perforations for attachment of leather liner. This example has a rich, blue-green patina and is a somewhat more impressive example of Type II, variant A, with a more pronounced dome-like form. The Roman historian Appian wrote that the Illyrian lived in the area south from the Macedonians and Thracians. Traditionally the Illyrians were farmers and miners, but during war time they were respected as seasoned soldiers, primarily for the infantry. For a discussion of Type II, variant A, see Angelo Bottini et. al. Antike Helme (Mainz, 1988) pp. 48-52, and ef. Figs. 7-8, p. 49. These helmets were particularly popular in northern Greece, in the province of Illyria, in the modern day Balkans. They were made for hoplites, the citizen-soldiers of the Greek city states, who often furnished their own bronze armor. As a result, regional styles developed, and there is a great deal of variation in shape and form.For similar examples to this helmet from the Metropolitan Museum of Art (1992.180.1, 2006.221, 2003.407.6) and the Louvre (CA 2221Or). For a similar, see H. Pflug, 'Illyrische Helme', in A. Bottini et al. Antike Helme, Mainz, 1988, 55-9. For further reading, see A. M. Snodgrass, Early Greek Armour and Weapons. From the End of the Bronze Age to 600 B.C., Edinburgh, 1964. Size: 280mm x 200mm; Weight: 1.16kg Provenance: London private collection; formelry in a private New York, USA collection; formerly acquired from the German collection of Hans Hagmann in 1968/69. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 7th-6th century BC.A gold pendant in the shape of a shrine with a filigree "Bottle Idol" flanked by two cobras (uraei) upon an altar. This image is bordered with a plain raised edge framed with two rows of granulation. Ribbed suspension loop to the top. For a similar pendant with an Egyptianising shrine scene, see Museo Archeologico Giuseppe Whitaker, Moyta, Sicily, accession number: 1870; F.H. Marshall, Catalogue of the Jewelry, Greek, Etruscan, and Roman in the Department of Antiquities, British Museum (1969), p. 157, no. 1547, pl. XXV. Authentication report by Sami Fortune, ancient jewellery specialist. Size: 30mm x 20mm; Weight: 4g Provenance: Property of a central London gallery, acquired on the US art market; Ex. New Jersey Private Collection, formerly acquired on the German Art Market, Munich, 24 July 1998. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100-300.A large oval-shaped bloodstone intaglio showcasing an intricate engraving of the Dioscuri. This intaglio portrays the Dioscuri in standing poses, facing each other, each holding long spears and swords. Above each figure a star is etched, signifying their celestial connection. In Greek mythology, the Dioscuri, or Castor and Pollux, were twin brothers known for their exceptional martial prowess and close fraternal bond. Castor, a mortal, and Pollux, an immortal, were revered as the patrons of horsemanship and protectors of sailors. The intaglio is set in a high carat (20-22ct), possibly later gold ring. For a similar example, see Amgueddfa Cymru, National Museum Wales, Item Number: 55.83.Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 9.5gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 1st century AD.A black oval-shaped intaglio finely engraved with an image of the standing goddess Minerva (Greek Athena). She is depicted turned to her right, wearing a long robe, and a crested helmet. She is holding a spear in her right hand and a shield lies at her feet. The intaglio is set in a high carat (20-22ct), possibly later gold ring.Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 11.4gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 1st-2nd century AD.An oval-shaped carnelian intaglio engraved with a nude male figure depicted seated atop a pile of rocks. He holds a stick or staff in his left hand. Probably the god Mercury (Greek Hermes). Groundline. The intaglio is set in a high carat (20-22ct), possibly later gold ring of a broad hoop tapering gently to the back. For a similar example, see Catalogue of Engraved Gems - Greek, Etruscan and Roman - G. M. A. Richter, 1956, Plate XLI, 288.Size: D:17.12mm / US: 6 3/4 / UK: N; Weight: 12.3gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 1st century AD.A nicolo intaglio depicting the god Mars (Greek Ares). The god is depicted turned to his left, wearing a helmet and holding a shield at his feet. His left hand is raised, while his right hand hangs loosely. The intaglio is set in a high carat (20-22ct), possibly later gold ring. For a similar example, see The British Museum, accession number: 1917,0501.536.Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 11gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Set of 9 original vintage art exhibition adverising posters. 1. Marino Marini XX Century's Characters held in the Galleria d'Arte Moderna, Milan in 1973. Marino Marini was an Italian sculptor. Good condition, tear and few stains on the bottom, creases on margins. Country: Italy. Year: 1973. Designer: Unknown. Size: 70 x 50; 2. Chryssa held in the National Museum of Modern Art in Paris in 1979. Chryssa Vardea-Mavromichali was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations. Very good condition. Country: France. Year: 1979. Designer: Chryssa. Size: 70 x 50; 3. 100 Years of Museum für Kunst und Gewerbe Hamburg. The Museum für Kunst und Gewerbe Hamburg is a museum of fine, applied and decorative arts in Hamburg, Germany. It is located centrally, near the Hauptbahnhof. Good condition, small tears and creases on margins. Country: Germany. Year: 1976. Designer: Unknown. Size: 84 x 59.5; 4. 70th Annual World Congress of F.D.I. in Vienna. Very good condition, folded. Country: Austria. Year: 1982. Designer: Unknown. Size: 68 x 48; 5. Eugene Atget Exhibition held in the Palais Rohan, Strasbourg in 1978. Eugène Atget was a French flneur and a pioneer of documentary photography, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization. Very good condition, small creases on margins. Country: France. Year: 1978. Designer: Eugene Atget. Size: 64 x 38; 6. Capogrossi Exhibition held in National Gallery of Modern Art Rome. Good condition, creases on margins, small paper losses on top. Country: Italy. Year: 1974. Designer: Capogrossi. Size: 68.5 x 100; 7. Maria Guida Exhibition held in Petit Palais Geneva. Very good condition, small creases on margins. Country: Italy. Year: 1973. Designer: Unknown. Size: 69.5 x 48.5.cm; 8. Venice and Byzantium Palazzo Ducale. Good condition, creases on margins. Country: Italy. Year: 1974. Designer: Unknown. Size: 98.5 x 68; 9. Painters And Sculptures A New Figuration Perouges. Held in Maison Des Princes De Perouges. Marc Giai-Miniet - Thierry Leproust - Olivier Brice - Gerard Le Cloarec - Gerard Larguier. Very good condition, creases on the left margin. Country: France. Year: 1978. Designer: Unknown. Size: 72.5 x 52.
A collection of silver to include; a set of six Walker & Hall Art Deco style designed teaspoons in original Walker & Hall box, a matching set of six teaspoons by Walker & Hall in original box, a set of six Elkington & Co silver teaspoons with Deco style terminals, in box, a set of six Viners of Sheffield simply designed silver teaspoons in box, four differnet silver napkin rings to include; an octagonal engine turned designed, a Chester engine turned, a Sheffield and a Birmingham hallmarked, along with a cased set of six unmarked white metal 'Greek Key' designed napkin rings. (1 bag) Weight: Approx. 404,7 grams (13.0ozt) Further Details: Tarnishing, general wear, slight scratching etc.
Art reference books on Painters & Paintings: European & Russian Kostenevich, Albert: Bouguereau to Matisse, French Art at the Hermitage, 1860-1950 Kostenevich, Albert: French Art at the Hermitage, Splendid Masterpieces, New Discoveries Distel, Anne: Les Collectionneurs des Impressionnistes Pictures in the Royal Collection, The Later Italian Pictures Berenson, Bernard: The Italian Painters of the Renaissance Chiristou, Chrysanthos: The National Gallery, 19th and 20th Century Greek Painting Zampetti, Pietro: A Dictionary of Venetian Painters, Volume 5, Nineteenth and Twentieth Centuries Giampaolo, Mario Di: Los Frescos Italianos de El Escorial Ward-Jackson, Peter: Italian Drawings, Volume Two: 17th-18th century, V&A Catalogue De Piro, Nicholas: The International Dictionary of Artists who painted Malta Preston, Col. Rupert: Seventeenth Century Marine Painters of the Netherlands Taras Shevchenko / Schewtschenko / Chevtchenko: Tapac Webyehko [Tarass Chevtchenko Paintings] Haesaerts, Paul: Laethem-Saint-Martin. Le Village elu de l'Art Flamand, 3rd Edition, in Slipcase Die Kunstwelt, Monatsschrift fur die Bildende Kunst, Band III, Juni 1913-Sept. 1913 Auction Catalogues: Christie's, King Street: German and Austrian Art '97, including The Ravenborg Collection and German Abstraction - A Private Collection, 3 Catalogues in Slipcase Auction Catalogue, Sotheby's New Bond Street: German & Austrian Art; Impressionist & Modern Art Evening Sale, 2 Volume boxed set, 7 February 2006 Auction Catalogues: Sotheby's, New Bond Street: The Beck Collection: German Expressionist & Modern Art, 5 Catalogues in Slipcase Astakhova, N: Ivan Aivazovskiy - Great Collection, in Slipcase Auction Catalogue, MacDougall's: Russian Classic and Contemporary Art Auction Catalogue, MacDougall's: Important Russian Art Auction Catalogue, Sotheby's New Bond Street: Russian Art, Paintings, 28 November 2006 Auction Catalogue, Sotheby's New Bond Street: The Russian Sale, 11 and 12 June 1997 Auction Catalogue, Sotheby's New Bond Street: The Russian Sale, 18 November 1999. (30)
A PAIR OF CARVED PINE EAGLE CONSOLE TABLES IN GEORGE II STYLE AFTER FRANCIS BRODIE, LATE 19TH / EARLY 20TH CENTURYeach with a marble top, above a Greek key frieze and an eagle standing on rockwork support (2)87cm high, 181.5cm wide, 55cm deepCatalogue Note The design for this type of 'Roman' pier table has historically been associated with the eminent English architect and furniture designer William Kent (1685-1748) and this design was most popular during the 1730s-1750s throughout England and Scotland. A related table is illustrated in the 1739 trade sheet by the Edinburgh cabinetmaker Francis Brodie. In the same year he supplied 'a marble table supported by and eagle, gilt in burnished gold' to the Duke of Gordon. See F. Bamford, 'Dictionary of Edinburgh Wrights and Furniture Makers', Furniture History, vol. XIX, 1983, plate 24a. For a similar pair of tables see Dreweatts, Fine Furniture, Ceramics & Works of Art, 28th March 2018, lot 70.
(ON SALE) ROLEX SUBMARINER *COOKIE MONSTER* MATERIAL: 18ct WHITE GOLD SIZE: 41mm DIAL: BLACK DIAL ** MARCH 2023 MODEL** MODEL ID: 126619LB ***COMPLETE SET*** ***GENUINE CERTIFIED ROLEX - BUY WITH CONFIDENCE*** ** ALL NEW 2023 MODEL ** ORIGINAL BOX & PAPERWORK (PRESENT) OPERATING INSTRUCTION BOOKLET (PRESENT) ORIGINAL WARRANTY CARD (PRESENT) COMES WITH 5 YEARS COMPLIMENTRY 'ROLEX' WARRANTY. GET YOUR HANDS ON ONE OF ROLEX'S MOST SOUGHT AFTER TIME PIECES !!! BEAT THE EVER GROWING WAITING LIST !!! A FANTASTIC INVEST TIMEPIECE !!! THE OYSTER PERPETUAL SUBMARINER DATE IN 18 CT WHITE GOLD WITH A CERACHROM BEZEL INSERT IN BLUE CERAMIC AND A BLACK DIAL WITH LARGE LUMINESCENT HOUR MARKERS. It features a unidirectional rotatable bezel and solid-link Oyster bracelet. The latest generation Submariner and Submariner Date remain faithful to the original model launched in 1953. In watchmaking, the Submariner represented a historic turning point; it set the standard for divers’ watches. UNIDIRECTIONAL ROTATABLE BEZEL AN UNDERWATER TOOL The Submariner's rotatable bezel is a key functionality of the watch. Its 60-minute graduations allow a diver to accurately and safely monitor diving time and decompression stops. Manufactured by Rolex from a hard, corrosion-resistant ceramic, the Cerachrom bezel insert is virtually scratchproof. A luminescent capsule on the zero marker ensures legibility, no matter how dark the environment. The bezel’s knurled edge is carefully designed to offer excellent grip under water, even with gloves. BLACK DIAL FOR LEGIBILITY UNDERWATER The dial’s luminescent Chromalight display is an innovation that improved visibility in dark environments, an essential feature for divers. Hour markers in simple shapes – triangles, circles, rectangles – and broad hour and minute hands enable instant and reliable reading to prevent any risk of confusion underwater. 18 CT WHITE GOLD COMMITMENT TO EXCELLENCE By operating its own exclusive foundry, Rolex has the unrivalled ability to cast the highest quality 18 ct gold alloys. According to the proportion of silver, copper, platinum or palladium added, different types of 18 ct gold are obtained: yellow, pink or white. They are made with only the purest metals and meticulously inspected in an in-house laboratory with state-of-the-art equipment, before the gold is formed and shaped with the same painstaking attention to quality. Rolex's commitment to excellence begins at the source. THE OYSTER BRACELET ALCHEMY OF FORM AND FUNCTION The Oyster bracelet is a perfect alchemy of form and function, aesthetics and technology, designed to be both robust and comfortable. It is equipped with an Oysterlock clasp, which prevents accidental opening, and an ingenious Glidelock, allowing fine adjustments of the bracelet without using any tools - and allowing it to be worn comfortably over a diving suit. THE CYCLOPS LENS A MAGNIFYING LENS The Cyclops lens is one of the most distinctive Rolex features, and one of the most recognizable. Named after the one-eyed giant of Greek mythology, the Cyclops lens magnifies the watch’s emblematic date display for easy reading. Behind the Cyclops, as with every feature of a Rolex timepiece, lies a history of invention, research and development, and the endless search for perfection. 3235 MOVEMENT SUPERLATIVE PERFORMANCE The calibre 3235 is a new-generation movement entirely developed and manufactured by Rolex. This self-winding mechanical movement is at the forefront of the art of watchmaking. A consummate demonstration of Rolex technology, with 14 patents, it offers fundamental gains in terms of precision, power reserve, resistance to shocks and magnetic fields, convenience and reliability. It incorporates the new Chronergy escapement patented by Rolex, which combines high energy efficiency with great dependability. Made of nickel-phosphorus, it is also insensitive to magnetic interference. Auctioneers Remarks: Delivery: Available Upon Request (Guaranteed Delivery Before Christmas) Collection: Sales Address Payment Method: Bank Transfer Only (No Cash or Card Payments) Payment Deadline: 5pm on Wednesday 10th of January 2024 (Subject to change if 'Reserve Met' or 'Bid Accepted' prior to end of sale, Payment deadline will alter to 5pm the following day (If you are unable ot abide by these payment terms, Do Not Bid) All bids submitted are valid and taken as provisional if reserve has not been met. For Buyer Premium / VAT Charges, Please Refer To 'Additional Fees' Late Payment Will Result In Receiving Late Payment Fees, Charged At A Daily Rate Of 3% +VAT Of The Total Payable Invoice
Steve Lazarides (British, b. 1969) after Banksy Girl with Balloon Tate Installation 320gsm Hahnemuhle Photo Rag Pearl print Limited Edition number 22 of 200 Signed, numbered & stamped by Steve Lazarides Printed by Magic Max 42 x 59.4cm (16" x 23.5") With certificate of authenticity from Steve Lazarides' private collection. Steve Lazarides is a British-Greek Cypriot publisher, photographer, collector and curator. He has helped popularise street art and underground art. In the 1980s, he started out with a Nikon F-mount camera documenting his surrounding environments as a photography student. He subsequently worked as a photographer for Sleazenation, where he was employed as photography director from 1996 till 2001. Commissioned by Sleazenation to photograph Banksy's portrait in 1997, he continued to work with the artist, including as the anonymous artist's driver and photographer, before eventually becoming his gallerist. Lazarides and Banksy also launched the 'Pictures on Walls' website in 2001 to promote graffiti art, and widened their scope to work with a larger roster of street artists. He created an in-house print studio, Lazarides Editions, and worked with the artists to create prints to share with the art community. In 2016, Lazarides began curating his personal photography archive of 100,000 images containing roughly 12,000 photographs he took whilst documenting the career of Banksy, and self-published them as two books, Banksy Captured Volume I & Volume II. Lazarides self-distributed the first and second editions of the two volumes, resulting in sales of over 5,000 copies within a month, at the end of 2019. Banksy Captured Volume II, features further photography and commentary, and was published in March 2021. Volume Two includes reportage from Banksy's 2006 Los Angeles exhibition "Barely Legal", images of the artist's unauthorised installation inside London's Natural History Museum during 2004. Banksy Captured Volume I & Volume II were both self-published via Lazarides' Laz Emporium venture. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Steve Lazarides (British, b. 1969) after Bansky Spray It Loud 320gsm Hahnemuhle Photo Rag Pearl print Limited Edition number 17 of 200 Signed, numbered & stamped by Steve Lazarides Printed by Magic Max 42 x 59.4cm (16" x 23.5") With certificate of authenticity from Steve Lazarides' private collection. Steve Lazarides is a British-Greek Cypriot publisher, photographer, collector and curator. He has helped popularise street art and underground art. In the 1980s, he started out with a Nikon F-mount camera documenting his surrounding environments as a photography student. He subsequently worked as a photographer for Sleazenation, where he was employed as photography director from 1996 till 2001. Commissioned by Sleazenation to photograph Banksy's portrait in 1997, he continued to work with the artist, including as the anonymous artist's driver and photographer, before eventually becoming his gallerist. Lazarides and Banksy also launched the 'Pictures on Walls' website in 2001 to promote graffiti art, and widened their scope to work with a larger roster of street artists. He created an in-house print studio, Lazarides Editions, and worked with the artists to create prints to share with the art community. In 2016, Lazarides began curating his personal photography archive of 100,000 images containing roughly 12,000 photographs he took whilst documenting the career of Banksy, and self-published them as two books, Banksy Captured Volume I & Volume II. Lazarides self-distributed the first and second editions of the two volumes, resulting in sales of over 5,000 copies within a month, at the end of 2019. Banksy Captured Volume II, features further photography and commentary, and was published in March 2021. Volume Two includes reportage from Banksy's 2006 Los Angeles exhibition "Barely Legal", images of the artist's unauthorised installation inside London's Natural History Museum during 2004. Banksy Captured Volume I & Volume II were both self-published via Lazarides' Laz Emporium venture. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Steve Lazarides (British, b. 1969) after Banksy And I Love You 320gsm Hahnemuhle Photo Rag Pearl print Limited Edition No. 18 of 200 Signed, numbered & stamped by Steve Lazarides Printed by magic Max 42 x 59.4cm (16" x 23.5") With certificate of authenticity from Steve Lazarides' private collection. Steve Lazarides is a British-Greek Cypriot publisher, photographer, collector and curator. He has helped popularise street art and underground art. In the 1980s, he started out with a Nikon F-mount camera documenting his surrounding environments as a photography student. He subsequently worked as a photographer for Sleazenation, where he was employed as photography director from 1996 till 2001. Commissioned by Sleazenation to photograph Banksy's portrait in 1997, he continued to work with the artist, including as the anonymous artist's driver and photographer, before eventually becoming his gallerist. Lazarides and Banksy also launched the 'Pictures on Walls' website in 2001 to promote graffiti art, and widened their scope to work with a larger roster of street artists. He created an in-house print studio, Lazarides Editions, and worked with the artists to create prints to share with the art community. In 2016, Lazarides began curating his personal photography archive of 100,000 images containing roughly 12,000 photographs he took whilst documenting the career of Banksy, and self-published them as two books, Banksy Captured Volume I & Volume II. Lazarides self-distributed the first and second editions of the two volumes, resulting in sales of over 5,000 copies within a month, at the end of 2019. Banksy Captured Volume II, features further photography and commentary, and was published in March 2021. Volume Two includes reportage from Banksy's 2006 Los Angeles exhibition "Barely Legal", images of the artist's unauthorised installation inside London's Natural History Museum during 2004. Banksy Captured Volume I & Volume II were both self-published via Lazarides' Laz Emporium venture. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A RARE PAIR OF GILT BRONZE CLOISONNÉ ENAMEL "WU DU TU"(FIVE POISONOUS CREATURES)NARCISSUS BOWLS清中期 銅鎏金掐絲琺瑯 '五毒圖'水仙盆一對China, mid 19th century. each applied with gilt metal Greek key rims over a lobed panel body decorated with flowers, fruits and the five poisons: snake,scorpion, centipede, toad and spider, against a rich blue ground, on short scroll feetL: 24 cmProvenance:Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.Publication: Inventory of Fine period furniture, porcelain, bronzes and effects, by Richard J.Lattimore, auctioneer and valuer of James Adams & Sons, July 1984, page 13出处:瑪麗安·紐曼(Marianne Newman)和布蘭奇·漢德爾曼(Blanche Handelman)的愛爾蘭私人收藏在 1960 年代充滿活力的時代,瑪麗安 ·紐曼 (Marianne Newman) 和布蘭奇·漢德爾曼 (Blanche Handelman) 在都柏林開設位于莫爾斯沃思街 4 號和奧蒙德碼頭的古董店。Handelman夫人以對Belleek瓷器的熱情而著稱,成為這種精緻藝術形式的傑出轉銷商。 除了在Belleek的專業知識外,她還是一位狂熱的藝術品收藏家,對亞洲艺术品情有獨鍾。 经营的三十年來他们的古董店成为艺术愛好者和收藏家的中心,他们夫妇二人成為都柏林乃至爱尔兰的古董界的重要角色。 奧蒙德古董店于1990 年結束。出版:《精美时期家具、瓷器、青铜器和效果清单》,由本公司的拍卖师兼估价师理查德·J·拉蒂莫尔编写,1984年7月,第13页。NOTE-a similar decoration on a Qianlong period copper box, in the collection of National Palace Museum, reference故琺000995N000000000In ancient China, the fifth day of the fifth month, known as Duanwu, marked the start of summer and was considered dangerous due to the emergence of poisonous animals. To protect against this, people used customs like drinking realgar wine, hanging Zhong Kui pictures, and employing "Five Poison" charms featuring snakes, scorpions, centipedes, toads, and spiders, believed to be "poisonous" creatures.People thus display objects adorned with motifs of the Five Poisons and wear clothing with patterns depicting these creatures during the Duanwu Festival to ward off evil and invite good fortune. Our pair of finely crafted cloisonné narcissus bowls should be considered as a festive display item for affluent families during this auspicious time.
Hellenistic Period, Ca. 200 BC.A gold terminal pendant with a lion head with an open mouth and suspension loop with a gold necklace. The details of the ferocious lion head are chased with stippling on the nose, whiskers and mane. The lolling tongue and the teeth are separately made. For a similar example from Kourion, now in The Metropolitan Museum of Art, see no. 187 in D. Williams and J. Ogden, Greek Gold. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 33mm x 19mm; Weight: 1.8g Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.
Ca. AD 200-300.A freestanding bronze figurine of goddess Victory (Greek Nike) in the upright pose with her right hand raised. She wears a long, flowing robe, and at her back, small wings are spread. Size: 53mm x 35mm; Weight: 46g Provenance: Private UK collection; acquired on the Belgian art market.
Ca. AD 100-200.A bronze figurine of the goddess Fortuna, known in Greek mythology as Tyche. Standing in an elegant pose, she is draped in a flowing robe with a hood. In her left hand, the goddess cradles a cornucopia, symbolizing abundance, a fitting emblem for a deity associated with good fortune and prosperity. Fortuna, revered in Roman and Greek mythology, personified the capricious nature of luck and fate. As the goddess of chance, she held sway over the unpredictable turns of life, representing both the capriciousness of fortune and the potential for great blessings. Cf. The Metropolitan Museum of Art, Accession Number: 96.9.400. Size: 70mm x 35mm; Weight: 108g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 12-14th Century AD.Ancient Near East / Holy Land, Byzantine Empire. An exquisite cast copper-iron processional cross with added decorative elements. The cross is composed of two flared sections, pinned together in the center with a cast-bronze medallion. The lateral arms are adorned with pointed finials on their upper corners, and on top is an intricate bronze crucifix finial flanked by small palmettes. From each arm hangs a pair of suspended rock crystal beads, and a large tang projects from beneath the vertical arm for attachment to a long bronze or wooden pole. The circular bronze medallion is ringed with faint silvering and displays an image of the Virgin Mary and the infant Christ. A pointille Greek inscription on the obverse side reads, "SOFRONIYO," possibly an inexact genitive name form of "Sofronios," perhaps the individual responsible for dedicating the cross. Another inscription on the horizontal arms, though faded on the left arm, reads, "IA KONYA," perhaps a reference to the modern city of the same name. Published in "Venerable Traditions: Works of Art from the Ancient World." Fortuna Fine Arts, Ltd., New York, 2007. Size: 685mm x 325mm; Weight: 885g Provenance: Ex. Janet Zakos collection, Switzerland, acquired in the 1980s; private East Coast, USA collection.
Ca. AD 800-1000.A ceramic grenade also referred to as 'Greek Fire'. This hollow ceramic vessel consists of an elongated bi-conical body, with a short neck and a pronounced rim. The body is decorated with multiple registers of engraved decoration. Size: 150mm x 80mm; Weight: 555g Provenance: Private Oxfordshire collection; Formerly acquired on the European art market from pre-2000 collections.
Ca. AD 800-1000.A Byzantine ceramic hand grenade, also referred to as 'Greek Fire’, with a hollow bulbous body and a pointed base. A short neck with thick rim to the top; a band of geometric patterns feature on the vessel’s shoulder. The vessel was used for naval fire warfare in Byzantine military tactics. Size: 145mm x 105mm; Weight: 780g Provenance: Private Oxfordshire collection; formerly acquired on the European art market from pre-2000 collections.
Ca. AD 800-1000.A Byzantine ceramic hand grenade, also referred to as 'Greek Fire’, with an elongated conical body and a flat base. A short neck with thick rim to the top; a band of incised herringbone patterns on the body. The vessel was used for naval fire warfare in Byzantine military tactics. Size: 175mm x 70mm; Weight: 455g Provenance: Private Oxfordshire collection; formerly acquired on the European art market from pre-2000 collections.
Ca. AD 800-1000.A Byzantine ceramic hand grenade, also referred to as 'Greek Fire’, with a hollow bulbous body and a pointed base. A short neck with thick rim to the top; a geometric motif composed of shallow circles, dots and incised lines decorate the body. The vessel was used for naval fire warfare in Byzantine military tactics. Size: 130mm x 80mm; Weight: 505g Provenance: Private Oxfordshire collection; formerly acquired on the European art market from pre-2000 collections.
Ca. AD 800-1000.A Byzantine ceramic hand grenade, also referred to as 'Greek Fire’, with a hollow bulbous body and a pointed base. A short neck with thick rim to the top; deep vertical ridges run from the neck to the base. The vessel was used for naval fire warfare in Byzantine military tactics. Size: 80mm x 115mm; Weight: 445g Provenance: Private Oxfordshire collection; formerly acquired on the European art market from pre-2000 collections.
Ca. AD 800-1000.A Byzantine ceramic hand grenade, also referred to as 'Greek Fire’, with a hollow bulbous body and a pointed base. A short neck with thick rim to the top; a geometric motif composed of shallow circles and incised triangles decorate the body. The vessel was used for naval fire warfare in Byzantine military tactics. Size: 70mm x 110mm; Weight: 345g Provenance: Private Oxfordshire collection; formerly acquired on the European art market from pre-2000 collections.
Ca. AD 800-1000.A Byzantine ceramic hand grenade, also referred to as 'Greek Fire’, with a hollow squared body and a pointed base. A short neck with thick rim to the top; a floral decoration and shallow circles on the outer surface. The vessel was used for naval fire warfare in Byzantine military tactics. Size: 80mm x 115mm; Weight: 450g Provenance: Private Oxfordshire collection; formerly acquired on the European art market from pre-2000 collections.
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