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Claudio Bravo, Chilean 1936-2011 - Portrait of an elegant woman in pink dress, 1966; pastel on paper, signed upper left 'Claudio Bravo' and dated in Roman numerals upper right 'MCMLXVI', 99 x 71 cm Provenance: the Sitter, South of Spain, gifted by the artist; private collection, by descent Note:Bravo established himself in Madrid as a society painter, known for his technical skills, inspired by the Spanish Baroque style. He is celebrated for his hyperrealist paintings of wrapped packages, recently as a Google Doodle in 2019.His works in the collections of The Metropolitan Museum of Art, New York; ; Rufino Tamayo Museum of International Contemporary Art, Mexico City; Museum of Modern Art, New York; and The Museum of Fine Arts, Boston.
Possibly Burgos School. Early 16th century."Virgin with Child"Carved, gilded, and polychromed wood sculpture.55 x 30 x 19 cm.A piece brimming with classicism and elegance, this solemn and majestic early Renaissance enthroned Virgin with Child exudes a Roman-style matronly presence. Despite minor volumetric losses on the throne and the left arm of the Christ Child, the sculpture is in fairly good condition. Although it is in the round, it is not carved or polychromed on the back, indicating that it was probably part of an altarpiece, and possibly presided over it, given its theme and great quality.Despite the Virgin being seated on the throne, with the composition designed for a predominantly frontal view, the group lacks any hint of stateliness or rigidity. On the contrary, Mother and Son are depicted in highly dynamic positions, with Mary's legs at different heights and pointing in different directions. The dynamic and widely open folds of the garments contribute movement to the group, with any edges being smooth and rounded. The placement of the Christ Child at one side, playfully seeming to want to walk between the mother's legs, also adds dynamism. Both figures are remarkable in their refined elegance and idealised classicism, with very life-like physiology. In general, the composition of the group resembles that of the Virgin with Child that presides over the Epiphany scene in the altarpiece of the Adoration of the Magi at the church of San Gil in the city of Burgos, which was created in the early 16th century by the renowned Burgundian master Felipe Bigarny (ca. 1470-1542).Mary is seated on a low throne with an uncarved back, and only the side panels, decorated with exquisite stylised vegetation motifs in golden tones, are visible. The Virgin holds her son with both hands: with her right hand, she seems to protect him from falling backward, as he appears unsteady, while with her left hand, she seems to caress his hand. Mary wears black shoes, with only the tip barely perceptible. She is clad in a fine golden tunic that adheres to her body, revealing its contours—such as the bust, legs, and knees. The tunic covers her up to the neck, and the upper part of it is polychromed with a white background on which blue and red geometric motifs and delicate vegetation elements can be seen. It drapes down to her feet, featuring a red border with golden geometric motifs along the lower edge. She also wears a wide mantle covering her back and a significant part of her body, also in gold, except for the edges lined with a blue border with golden vegetation motifs. Mary has a serious and contemplative face, with an oval head and a hairstyle of wet-looking locks held by a ribbon arranged over the forehead. The facial features are very distinctive, with large almond-shaped eyes, straight eyebrows, an extremely long and narrow nose with a flattened bridge, and a tiny closed mouth.The child's carefree attitude contrasts with Mary's contemplative demeanor. Jesus, depicted naked, displays a truly childish and tender character, adopting a playful and affectionate stance, attempting to grasp his mother's hand with his left hand, unfortunately having lost the other. He stands on her lap, seemingly wanting to walk from her right knee to the left. His small head is very expressive, suggesting a slight smile. His eyes are very small, emphasising the prominent cheeks that widen his face. His mouth is closed, and the hair has little relief, being almost like a cap made of curved locks.Through the detail in the expression of the anatomy and clothing, the anonymous sculptor has created a sculptural group based on soft forms. There is an interest in rhythm, a sense of measure, and technical and anatomical correctness. The sculptural quality of the piece is significantly enhanced by the sumptuous gilding of the garments. Despite being unable to identify a specific artist as its possible creator, it appears clear, based on its stylistic features and the parallel it holds with the aforementioned work located in the church of San Gil in Burgos, that it could well have been carved by a master from the northern region of Castile, perhaps from Burgos. The piece shows a synthesis of the artistic styles of Bigarny and Siloe, although not quite reaching their extremely high degree of mastery. We would like to thank Dr. Javier Baladrón, art historian, for the identification and cataloguing of this work.
Wyon, Joseph Shepherd (British, 1836-1873); b. London ENGLAND, John Bacon, 1864, a copper medal by J.S. Wyon for the Art Union of London, bust right, rev. Bacon’s statue of Samuel Johnson in Roman attire, 55mm, 107.45g (Beaulah 15; BHM 2797; BDM VIII, 297; E 1573). About extremely fine £70-£90 --- John Bacon (1740-99) was a sculptor; Samuel Johnson (1709-84) was a poet, playwright, essayist and lexicographer.
An Art Deco diamond set cocktail watch, the circular silvered dial with black Roman numerals mounted within brilliant cut diamond set bezel, the reverse of the white metal case stamped 'Platinum' '1286', the case with attached black moire ribbon bracelet with yellow and white metal clasp stamped '18k'Condition:Manual wind movement, currently in working order but unable to guarantee, some wear to the dial, diamonds each weigh approx 0.12cts, total number of diamonds-18, total diamond weight estimated approx 2.16cts, clarity range estimated approx SI1-I2, colour range estimated approx G/H/I, small dings to reverse of white metal case, dial measures approx 17mm, dial diameter including the bezel approx 26mm diameter, clasp in good working order and appears secure, general wear, refer to images, total weight approx 13.8g (including strap)
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.
Y A GEORGE I/II GILT BRASS MOUNTED EBONY TABLE/BRACKET CLOCK WITH PULL-QUARTER REPEAT ON SIX BELLSLODINGTON, LONDON, CIRCA 1730The five pillar twin fusee bell striking movement with pull-quarter repeat on a graduated nest of six bells and later anchor escapement regulated by lenticular bob pendulum, the backplate engraved with Ho-Ho bird inhabited symmetrical foliate scrolls around a central twin-headed eagle, grotesque masks and a basket of fruit, the 7 inch brass break-arch dial applied with oval silvered brass signature plate engraved Lodington, London beneath later shaped plate inscribed TEMPUS FUGIT to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the outer minute track, with scroll-pierced steel hands and Indian mask and scroll cast spandrels to angles beneath subsidiary calendar dial flanked by conforming mounts to arch, the inverted bell top case with generous hinged brass carrying handle and gilt brass fillet detail to the superstructure over double cavetto top mouldings and opening front inset with brass fillet mouldings to the glazed dial aperture and to the scroll pierced upper quadrant frets, the sides with brass fillet-edged break-arch windows and the rear with rectangular door set within the frame of the case also with brass fillet mouldings to the glazed break-arch aperture and conforming upper quadrant panels, on cavetto moulded skirt base with moulded squab feet.42cm (16.5ins) high with handle down, 26.5cm (10.5ins) wide, 16.5cm (6.5ins) deep. Isaac Loddington is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1720-34. The engraving to the backplate of the present timepiece can be compared to decoration discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass pages 262-71. This style of engraving has roots in French Huguenot immigrant work and of particular note is the inclusion of a 'Green Man' grotesque mask and a double-headed eagle, which may suggest that the clock may have been intended for a client based in central/eastern Europe. The design of the repeat work can be broadly compared to on a table clock by Richard Street described in Dzik, Sunny BENEATH THE DIAL, English Pull-Repeat Striking 1675-1725 pages 417-19. The main differences between the two are that the present clock utilises an internal hour rack planted on the inside of the backplate (rather than on the frontplate) and employs a standard design of quarter rack hook (rather than the unique design incorporating blocking piece to check the strike train whilst the quarters are running). Condition Report: The movement is in full working condition however is a little dusty with light oxidation to the brass hence a gentle clean/service is advised. As catalogued the escapement has been converted from verge regulated by short bob pendulum to anchor regulated by lenticular bob pendulum, hence the third and escape wheels of the going train are replacements of differing design to the original. The backplate has filled holes from the verge potances and the upper edge has an enlarged slot to the allow for the repositioned pallet arbor; the backcock is also a replacement. The strike train and quarter repeat mechanism appear all-original and are in fine condition; the pulley for the repeat mechanism is probably a replacement. The dial now has a plate applied over the false bob aperture fixed via two small feet pinned at the rear. The dial is otherwise in fine original condition with fine quality spandrel castings; the surfaces are generally a little dirty/tarnished and the minute hand is a replacement. The movement is retained in the case bey two later steel securing brackets; the movement and dial were originally secured via a bolt through the base of the case threaded into the movement base pillar (bolt no longer present). The case is in fine condition with faults limited to a small chip to the lower left-hand corner of the left side glass, minor shrinkage a few light age-related bumps and scuffs. Clock has two case keys but no winder. Condition Report Disclaimer
A GEORGE I EBONISED TABLE/BRACKET CLOCK OF SMALLER PROPORTIONS WITH PULL-QUARTER REPEAT ON SIX BELLSPETER BACOT, LONDON, CIRCA 1720The five pillar twin fusee bell striking movement with pull-quarter repeat on a graduated nest of six bells and verge escapement regulated by lenticular bob pendulum incorporating pivoted rise/fall regulation to suspension, the backplate engraved with symmetrical foliate scrolls around a central reserve enclosing a winged cherub mask, the 6 inch brass break-arch dial with calendar and false-bob apertures to the matted centre within applied silvered Roman numeral chapter ring with diamond lozenge half hour markers and Arabic five minutes beyond the outer minute track, with scroll-pierced steel hands and Indian mask and scroll cast spandrels to angles beneath subsidiary rosette-centre engraved regulation dial flanked by conforming mounts to arch, the inverted bell top case with scroll cast gilt brass hinged brass carrying handle to the superstructure over double cavetto top mouldings and opening front inset with glazed dial aperture and to the scroll pierced upper quadrant frets, the sides shaped scroll-pierced sound frets over break-arch windows, and the rear with rectangular door set within the frame of the case with conforming upper quadrant panels, on cavetto moulded skirt base with moulded squab feet; now with a later ebonised wall bracket of moulded profile mirroring the case superstructure. The clock 38.5cm (15.25ins) high with handle down, 23cm (9ins approx.) wide, 16.5cm (6.5ins) deep; the clock on wall bracket 50cm (19.75ins) high with handle down. Peter Bacot is recorded in Looms, Brian Clockmakers of Britain 1286-1700 as working in London around 1700; a Pierre Bacot and his with Susanne had a child (also called Pierre) baptised at the French Huguenot church in Westminster. Bacot worked in the Parish of St. Giles in the Fields, Westminster and took-in several apprentices (mostly also of French Huguenot heritage) up until 1757. The engraving to the backplate of the present timepiece can be compared to decoration discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass pages 262-71; with perhaps the strongest similarities being with a backplate for a clock signed by Robert Player illustrated on page 264 (Figure 15.4); this style of engraving has roots in French Huguenot immigrant work. The design of the repeat work can also be broadly compared to mechanisms employed in table clocks by John Wady and Richard Peckover described in Dzik, Sunny BENEATH THE DIAL, English Pull-Repeat Striking 1675-1725 pages 440-41 and 455-56 respectively. Condition Report: The movement is in sound, relatively clean condition and will run, strike and repeat however a gentle clean/service is advised to ensure ongoing reliable operation. The quarter-repeat is currently out-of-sync with the quarters hence requires adjustment (hour strike train operates correctly). The movement is in its original form however it is most likely that the present verge escapement is a very well executed restoration as filled pivot holes in both the frontplate and towards the lower margin of the backcock (original) would suggest that the movement once had an anchor escapement fitted. The movement otherwise exhibits no visible evidence of alteration or noticeable replacements. The dial presents in good clean condition with some slight spots of oxidation however the spandrel and arch mounts would appear to be replacements (of correct pattern); the minute hand is also probably a replacement. The case is in very good condition having received cosmetic restoration in the relatively recent past. Faults are limited to minor bumps, scuffs, shrinkage and wear commensurate with light use; the left-hand side has some more noticeable slight shrinkage cracking and a historic crack to the front skirt moulding can be seen on closer examination. The left-hand side upper fret panel has a small veneer chip to the upper right-hand margin. The rear door glass has a crack to the apex of the arch. The interior of the case has had a coat of flat black paint applied. The blued steel movement securing brackets are replacements however there is no visible evidence to suggest that the movement and dial are not original to the case. The bracket is in good condition although the bottom moulding is a little loose and there is some shrinkage cracking towards the rear of the table.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer
A FINE VICTORIAN GILT BRASS GIANT CARRIAGE CLOCK WITH PUSH-BUTTON REPEATPAYNE AND COMPANY, LONDON, LATE 19th CENTURYThe eight-day two train four pillar gong striking movement with substantial frosted gilt platform lever escapement regulated by sprung split bimetallic balance and with jewelled pivots, the platform table engraved No. 69683 and Fast/Slow regulation adjustment indication, the backplate signed Payne & Co.163 New Bond St., LONDON to centre and numbered 48, 62864 to lower edge, the 2.75 inch circular engine turned silvered Roman numeral dial with small concentric arched panel inscribed PAYNE & Co.163 New Bond St. LONDON to the upper margin of the fine diamond hatched centre, the outer track with dot minute markers interrupted by Arabic five minutes, with blued steel moon hands and set into a fine rococo foliate scroll engraved shallow arch mask, the heavy frosted gilt bevel-glazed case with hinged stylised reed tied carrying handle over large thick glass and bead bordered cavetto moulding to top the front with shallow arch glazed dial aperture incorporating angled brass fillet to interior flanked by canted angle uprights with applied reeded decoration to lower sections and outswept bases, the sides with fine scroll engraved rectangular panels set behind bevelled glasses, the rear with lift-out panel incorporating shuttered winding and hand adjustment square apertures, on stepped skirt base with reeded squab feet.21.5cm (8.5ins) high with handle down, 15.5cm (6.125ins) wide, 12.5cm (5ins) deep. Literature: The current lot is illustrated in Roberts, Derek CARRIAGE and Other Travelling CLOCKS on page 344 (Figs. 23-24). William Payne recorded in Roberts, Derek CARRIAGE and Other Travelling CLOCKS as first working from at 62 South Moulton Street London in 1816. By 1825 he had moved to 163 New Bond Street where the company remained until the 20th century. William Payne & Company, watch, clock and pedometer makers appear in trade directories from 1852 specialising in finely finished carriage and small mantel clocks as well as watches and pedometers, and were one of only five English makers to exhibit carriage clocks in the 1862 London Exhibition. Their clocks often feature rich engraving, and it thought that through their close associations with Thomas Cole that they may well have employed the same engravers for some of their work. The case of the current lot is of a pattern also used by Dent (see Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS Their History and development page 262; Plate IX/38 and Roberts page 318; Fig 21) and is particularly pleasing in the way that its bold, robust and confident design (almost appearing Art Deco in its form) provides the perfect enclosure for the fine jewel-like engraved panels set behind thick protective glasses. Condition Report: Movement is in relatively clean fully working condition. Movement may benefit from a gentle clean/service in the not to distant future. The silvering to the dial is a little oxidised, the signature is a little rubbed but still legible. The mask is in fine condition. The case is in fine condition with no visible damage to the glasses and only very minor edge wear to the gilding. The top surface (around the top glass) has very slight discolouration to the gilding and the handle has some slight grime/wear within the reeded section to the centre.Clock is complete with a winding key. Condition Report Disclaimer
Y A FINE WILLIAM AND MARY EBONY TABLE CLOCK WITH SILENT PULL-QUARTER REPEAT ON TWO BELLSSAMUEL WATSON, COVENTRY OR LONDON, CIRCA 1690The seven finned pillar single fusee movement with verge escapement regulated by short bob pendulum and 'silent' pull-quarter repeat on a graduated pair of bells, the backplate with external horizontal hour hammer spring towards the upper margin and engraved with symmetrical scrolling foliage incorporating tulip blooms around a central reserve signed Samuel Watson, the 6.125 inch square brass dial with vacant calendar aperture to the matted centre within applied Roman numeral chapter ring with squat fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced steel hands and winged cherub cast spandrel mounts to angles, the ebony veneered case with eagle head and dolphin cast hinged brass carrying handle to the domed caddy superstructure over Knibb-style ogee cornice mouldings and rectangular glazed front door, the sides with brass repousse scroll decorated lozenge sound frets over rectangular windows and the rear with glazed door set within the frame of the case, on conforming ogee moulded shallow skirt base with brass disc feet.29cm (11.5ins) high with handle down, 22cm (8.75ins) wide, 15cm (6ins) deep. Samuel Watson was an important clockmaker and mathematician who is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as initially working in Coventry from around 1680 where he was Sheriff in 1686 before moving to Long Acre ('next door to the Bagnio in the Parish'), London, in around 1691; he was admitted to the Clockmakers' Company as a free Brother in 1692. He was supposedly 'Mathematician ordinary' to Charles II for whom he made an astronomical clock in 1682 followed by another clock which he did not finish until after the King's death. This clock was eventually sold to Queen Mary on its completion in 1690 and is preserved at Windsor Castle albeit in a later case. He also made two further complex astronomical clocks for Isaac Newton and invented five minute repeating for watches. He worked with the Lichfield based physician, John Floyer, in developing a medical 'pulse watch' which was subsequently advertised in 1707. Latterly, in November 1712, Watson approached the Clockmaker's Company with an instrument to 'discover the houre of the day at sea and several other useful mathematical matters' but to no avail. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is based to the system devised by Joseph Knibb (as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 36-7) with the principal differences being the shape and positioning of the pivoted gear-toothed sector, and the use of cocked pivots and distinctive external horizontal springs for each of the bell hammers. These details, however, are almost identical to those on a clock by Henry Jones (ex, Vehmeyer Collection) illustrated in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 page 71. Indeed the only discernible difference between the Henry Jones timepiece and the current lot is a the provision of a second brass lever acting as a spacer between the gear toothed sector and the hour snail. In addition to the near-identical repeat system the present clock also shares other strong similarities with the movement Vehmeyer Henry Jones such as the chapter ring (in particular the squat fleur-de-lys half-hour markers) and the design of the backplate engraving - which can also be very closely compared to two backplates for clocks by Joseph Knibb illustrated in Dzik, Sunny ENGRAVING ON ENLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 page 134, Figure 8.8. The case also shares the same mouldings, design/format of the side apertures, and overall proportions of the Vehmeyer Jones although the present lot does not have a repousse caddy. Another very similar silent-pull repeating timepiece by Henry Jones, sharing almost all of the above details, was sold in these rooms on 17th May 2015; this further example is notable in that it also had the very generous allocation of seven movement pillars as per the present clock.When all of the above observations are considered, it would be reasonable to suggest that the present timepiece could well have been made in the workshop of Henry Jones for retail by Samuel Watson. This possibility is perhaps further reinforced by the lack of place name within the signature which may suggest that the clock was supplied to Watson whilst he was still working in Coventry. If this was the case then the present lot would pre-date 1691, which is when Watson is believed to have moved to London. As a final note it is interesting to compare the present timepiece with Samuel Watson's slightly later clocks of the same specification. One such example is illustrated and described by Sunny Dzik in BENEATH THE DIAL... pages 99-102. This timepiece incorporates repeat work of near identical design as that used on the present clock but with the exception of the external horizontal hammer springs being dispensed in favour of the more standard arrangement comprising springs attached to the insides of the plates. As noted by Sunny Dzik this slightly later clock also belongs to a small series of timepieces that originally had sweep seconds hand revolving once every two minutes. The production of these centre-seconds timepieces may have been connected to Watson's work with the physician John Floyer, who was the first to apply timing of the heart rate as an important diagnostic indicator. The strong similarities between these later timepieces and the current lot would suggest that Samuel Watson was heavily influenced by the Henry Jones at the height of his career. Condition Report: For detailed condition report please contact the Dreweatts Clock department.Condition Report Disclaimer
Y AN INTERESTING QUEEN ANNE EBONY TABLE/BRACKET CLOCKRICHARD STREET, LONDON, CIRCA 1715The six finned pillar twin fusee inside rack bell striking movement now with anchor escapement for regulation by lenticular bob pendulum incorporating worm gear rise/fall regulation to suspension, the backplate finely engraved with leafy herringbone border enclosing symmetrical foliate scrollwork around a central classical bust resting on a shelf draped with a lambrequin signed RICH. STREET, LONDON, the 6.5 inch brass break-arch dial with false bob and calendar apertures and applied silvered oval plate engraved Rich'd Street, London to the finely matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes beyond the outer minute track, with fine delicate scroll pierced steel hands and unusual winged cherub mask and scroll cast spandrel mounts to angles with the upper concealing engraved rosettes and spare holes indicating original provision of twin selection rings, the arch with rosette-centred subsidiary dial engraved with Arabic numeral hour chapters flanked by bird inhabited foliate scrollwork, the inverted bell-top case with substantial hinged bras carrying handle and crisp complex waist mouldings to the distinctive ogee-shaped superstructure, with ogee and cavetto top mouldings and hinged front applied with complex raised mouldings to the break-arch glazed dial aperture and upper quadrant panels, the sides with rectangular over break-arch glazed apertures and the rear with break-arch glazed door incorporating blind upper quadrant panels set within the frame of the case, on cavetto moulded skirt base with block feet.44cm (17.25ins) high with handle down, 25.5cm (10ins) wide, 17cm (6.75ins) deep. Richard Street is an important but relatively enigmatic maker who is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1687, made Assistant in 1713 and appointed Warden 1716. He was a fine maker who had close working connections with Thomas Tompion for whom it is thought he made repeating watch movements (see Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 114). Street is perhaps best known for his commission by Sir Isaac Newton to supply a monumental month duration longcase clock for presentation to Dr. Bentley for the Observatory at Trinity College Cambridge in 1708; he also, alongside William Wright, took over the maintenance of the turret clock at St. Pauls Cathedral from Langley Bradley in 1716. A year going clock in an Arabesque marquetry case by Street survives in the Collection of the National Trust at Melford Hall, Suffolk. The engraving to the backplate of the current lot can be broadly compared to decoration discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass within the chapter titled 'Vine engraving 1700-1740' (pages 313-336). However, perhaps the strongest similarities are seen on backplates for clocks by George Graham illustrated earlier in the publication on pages 276-78 (figures 15.14-.16). From this it would be reasonable suggest that the backplate of the present clock was executed by the same engraver - Tompion/Graham's 'graver G.195'. The case of the present clock also demonstrates a high-quality individual approach with regards to detailing. This is most noticeable within the design of the superstructure which, in addition to being fitted with a particularly generous cast brass handle, has bold waist mouldings over individual ogee-profile to the caddy itself. This departs from the usual stepped ogee profile seen on other cases made by Street's contemporaries, including Quare and Graham; and is suggestive of a maker looking to set himself aside from others. Evidence in both the movement and dial of the present clock indicate that it was originally made with pull-quarter repeat and subsidiary selection dials (one most likely for strike/silent selection) to the upper spandrel areas. Although the mechanism has lost some of its original features, there has been minimal alteration to both the movement and dial. Hence the clock presents as a tantalising restoration project which would result in an example of fine specification and full of individual character reflective of one of the most interesting and enigmatic makers of the period.
TWO EDWARDIN INLAID MAHOGANY MANTEL TIMEPIECESBOTH UNSIGNED, EARLY 20th CENTURYEach with French circular single train eight-day movement; the first with replaced platform lever escapement regulated by sprung monometallic balance vertically plated on the backplate, the 3.25 inch circular slightly convex enamel dial with vertically aligned Arabic hour numerals to chapter ring and fifteen-minute annotations to the outer track, with steel spade hands set behind convex glazed cast brass bezel, the lyre-shaped case with brass surmount cast as a young winged figure with a lyre seated on a wheel issuing wings from the hub, over front inlaid with brass 'strings' passing above and below the dial within leafy scroll decorated border tied with a foliate band to top and terminating with rosettes, the rear flush with friction fitting brass cover for the movement, on stepped ogee moulded plinth base with brass bun feet; the second timepiece with cylinder escapement and Roman numeral dial set within Art Nouveau style waisted case inlaid with brass highlighted butterfly motif beneath the dial over brass bun feet, (2).The first 40.5cm (16ins) high, 16.5cm (6.5ins) wide, 9cm (3.5ins) deep; the second 23cm (9ins) high, 14cm (5.5ins) wide, 9ins (3.5ins) deep.
A FINE GEORGE II GILT BRASS MOUNTED WALNUT TABLE/BRACKET CLOCK WITH PULL-QUARTER REPEAT ON SIX BELLSWILLIAM WEBSTER, LONDON, CIRCA 1730The six finned pillar twin fusee bell striking movement with generous plates measuring 7.875 by 6.125 inches, verge escapement regulated by short bob pendulum and pull-quarter repeat sounding on a graduated nest of six bells, the symmetrical foliate strapwork scroll engraved backplate with twin Ho-Ho birds flanking a basket of fruit towards the upper margin over central oval herringbone bordered reserve signed W'm Webster, Exchange Alley, London, the 7 inch gilt brass break-arch dial with curved false-bob and calendar apertures and applied shaped silvered plate signed W'm Webster Exchange, Alley London to the finely matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the outer minute track, with fine scroll-pierced steel hands and gilt Indian mask and scroll cast spandrels to angles beneath subsidiary Strike/Silent selection dial flanked by conforming mounts to arch, in a gilt brass mounted figured walnut inverted bell-top case with generous hinged cast gilt brass carrying handle over double cavetto top mouldings, the opening front with brass-fillet edged glazed dial aperture and fine foliate scroll engraved gilt brass upper quadrant frets set within conforming moulded surrounds, the sides with break-arch ended lozenge-shaped engraved gilt brass upper frets decorated with basket-of-flowers within scroll-pierced infill and gilt fillet surrounds, over conforming large break-arch frets incorporating scallop shells over Ho-Ho birds, grotesque masks and baskets of fruit, the rear with rectangular break-arch glazed door set within the frame of the case also incorporating brass fillet mouldings to the apertures and with scroll-pierced and engraved upper quadrant frets, on cavetto moulded skirt base with squab feet.44.5cm (17.5ins) high with handle down, 27.5cm (10.875ins) wide, 19cm (7.5ins) deep. William Webster senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed to Thomas Tompion and gaining his Freedom from The Clockmakers' Company in 1710, he initially worked as journeyman to Tompion later setting up business in Exchange Alley, London in 1711. Four days after Tompion's death on 20 November 1713 Webster placed a newspaper advertisement stating that he had worked for Tompion and was now working on his own at the Dial and Three Crowns in Exchange Alley. William Webster was elected to the position of Junior Warden in the Clockmakers Company in 1734 but died during his year in office on 13 August 1735. William Webster junior was apprenticed to his father in 1727 gaining his Freedom in 1734, he was appointed Master of the Clockmakers' Company in 1755. He was a fine maker who very much maintained his father's standards in his work. The design of the repeat work utilised in the current clock can be compared to systems used in clocks by Daniel Delander, Simon DeCharmes, John Purden and John Pyke discussed in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 445-454. The engraving to the backplate conforms to designs also discussed by Sunny Dzik in ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages 300-302. Dzik identifies common elements within the engraved backplates for a fairly diverse group of clockmakers including David Hubert, John Wady, Richard Ellis Joseph Windmills and others. These include the distinctive basket of fruit flanked by birds supported on a narrow shelf, small vertical trellis supports, frequent use of flowerheads to decorate the principal pivot holes and paired bird heads at the base. These common elements, coupled with strong stylistic traits within the compositions as a whole, would suggest the work of a common engraver.The case of the current lot is particularly notable both in the selection of the fine figured walnut veneers and the quality of the engraved gilt brass frets which are amongst the finest seen on clocks from this period. Condition Report: Please contact Dreweatts clock department direct for a detailed condition report.Condition Report Disclaimer
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.
A GROUP OF CLASSICAL TERRACOTTA VESSELS (12)A Roman red glazed double nozzle oil lamp, 1st Century BC/AD, with clasped hand emblem, 21cm wide; and another small example with three nozzles 6cm wide; five other South Italian and Roman vessels, the tallest 17cm high; a Corinthian conical aryballos vessel, probably 6th Century B.C., decorated with a striding lion, rosettes and a goose, 9.5cm high; and two fragments and stone crucifixPROVENANCEProperty from the collection of the art critic, Terence Mullaly.
Group of two (2) Success In Science And Art bronze medals dated 1860 and 1865 respectively (Eimer 1511). Obverses: portrait of Queen Victoria by William Wyon, 'VICTORIA BY THE GRACE OF GOD QVEEN' with 'MDCCCLVI' - in Roman numerals below. Reverse: six-line inscription within a wreath and beaded circles. Reads: 'NATIONAL / MEDAL FOR / SVCCESS IN ART / AWARDED BY THE / SCIENCE AND ART / DEPARTMENT'. The first medal (1) inscribed 'John Algar. Exeter. Stage 11B. 1860'. The second (2) 'George Harwin. Norwich. Stage 2 B. 1865'. Each weighs 87.6g. Diameter: 55mm.
THREE MANTEL CLOCKS, late 19th/early 20th century, black slate and marble with circular enamel dial, black Roman numerals, eight-day movement striking on bell, Art Nouveau bronzed spelter case, circular dial with Arabic numerals, 23cms (h), Edwardian inlaid mahogany cased dome top circular dial with Roman numerals, 16cms (h)Provenance: deceased estate Gwynedd
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.
Italian manuscript account book. Libro degli Affari di Lorenzo Pollini di Siena de'Beni di Asinalunga, 1775-79, 100 leaves of laid paper, each numbered in brown ink to upper outer corner, the majority blank, except for eleven pages of handwritten accounts in brown ink by Lorenzo Pollini at Siena Lunga, near Siena, 1775-79, and one page written in dark blue ink in English, and dated 1899, recording an art collector's notes regarding three purchases of works of art in January that year, including 'A marble putto, half a meter high. He rests on an oval base with the trunk of a tree coming out of it behind. Both arms, and the left leg below the knee have been broken off. Yet the figure is wonderfully attractive, and quite fine in every part. I am at a loss as to ascribe it, it comes nearest to Michael Angelo himself in his first Roman manner, about 1490-1500...' (probably by an American), original limp vellum, with manuscript title in brown ink to upper cover 'Libro degli affari di Lorenzo Pollini...', with ties (replaced, and with one missing), octavo (21 x 14.5 cm)QTY: (1)
WALTHAM - a 9ct rose gold open-face keyless fob watch, white enamel dial with Roman numeral hour markers, blued steel spade hands, Art Nouveau floral engraved case and 9ct dust cover, import hallmarks London 1909, serial no. 11355610, case no. 1CC337, case width 37mm, working order, 41.4g grossMovement – currently workingDial - several very faint hairline cracksGlass - cleanHands - good Case - general wear and a few minor dents on casebackCrown – hands adjust smoothly
Turner (Sir James) Pallas Armata. Military Essayes of the Ancient Grecian, Roman, and Modem Art of War, first edition, portrait frontispiece, title printed in red and black, without advertisement f. at end, ink ownership name to title, frontispiece and title with some chipping to edges, 2A3 very small rust-hole within text, water-staining, occasional other soiling, final 2 leaves defective with small holes and tears causing loss of text, final f. with large paper repair to verso, contemporary calf, lacking backstrip, very worn, upper cover almost detached along with frontispiece and title, [Wing T3292], folio, M.W. for Richard Chiswell, 1683.
Winston (Charles). An Inquiry into the difference of style observable in Ancient Glass Paintings, especially in England; with hints on glass painting, 2 volumes, 2nd edition, Oxford and London: James Parker and Co., 1867, 75 full-page plates to plate volume, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedowns, all edges gilt, early 20th-century orange full morocco gilt, black morocco spine labels, lightly rubbed, spines slightly faded, 8vo, together with:A Glossary of Terms used in Grecian, Roman, Italian, and Gothic Architecture, 3 volumes (including supplement), 4th edition, enlarged, Oxford: John Henry Parker, 1841-45, frontispieces, 164 plates to plate volume, further engraved plates to supplementary volumes, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedowns, top edge gilt, contemporary half calf gilt, black morocco spine labels, some light wear to extremities, 8vo, plusJameson (Anna). Sacred and Legendary Art, 2 volumes, new edition, London: Longmans, Green and Co, 1890, frontispieces, full-page plates throughout (one folding at rear of volume two), bookplate of Andrew Carnegie to front pastedowns, all edges gilt, 20th-century dark green crushed full morocco gilt by Zaehnsdorf, a few small nicks to extremities, 8vo, with 39 other related leatherbound volumes QTY: (46)
Ca. AD 200-300.A gold finger ring with a carnelian portrait intaglio of Jupiter seen in profile and wearing a laurel crown. In Roman mythology, Jupiter was the King of the Gods and the God of the Sky and Thunder. Size: D:20.17mm / US: 10 1/2 / UK: U 1/2; Weight: 5g 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.
Ca. AD 200-300.An oval-shaped banded agate intaglio, engraved with a left-facing depiction of the god Mars. The god is depicted in a standing pose, grasping a long spear and shield. Mars, in Roman mythology, was the god of war and a prominent figure in the Roman pantheon. Venerated for his association with military prowess and strategy, Mars was often invoked by Roman soldiers before battle. The intaglio is set within a possibly later high-carat (20-22ct) gold ring with elaborately decorated shoulders.Size: D:18.34mm / US: 8 1/4 / UK: Q; Weight: 15gProvenance: 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. 1st century AD.A gold finger ring formed of a rounded hoop that expands at the shoulders. The bezel is set with an convex agate intaglio depicting a grasshopper standing over a stalk of wheat. The meaning of the motif is difficult to discern, but it was often used as a control mark on Roman coinage. Size: D:18.14mm / US: 8 / UK: P 1/2; Weight: 5g Provenance: Private UK collection, acquired on the German art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 1st-3rd century AD.A gold finger ring formed of a round-section hoop flattened at the bezel and decorated with a relief depiction of a phallus. In ancient Roman culture, the phallus was considered a powerful protective symbol associated with fertility, good fortune, and warding off negative influences. For a similar example, see The British Museum, Museum, accession number: 1772,0314.32. Authentication report by Sami Fortune, ancient jewellery specialist. Size: D:17.32mm / US: 7 / UK: N 1/2; Weight: 8g 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.
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.
Ptolemaic Period - Roman Period, Ca. 305 BC - AD 323 .A polychrome painted cartonnage foot-case from a cartonnage mummy. Two stylised bare feet feature on the upper face, each with an ankle panel depicting the god Anubis in jackal form with a flail over the shoulder. The deity is framed by geometric borders which continue around the perimeter of the foot cover; soles of polychrome chequered sandals on the base. For a similar example, see The British Museum, accession number: EA29475. Accompanied by an academic report by Egyptologist Paul Whelan. Item comes with a professional historical report from Ancient Report Specialists. Size: 230mm x 200mm; Weight: 285g Provenance: Private UK collection; Ex. UK art market, 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Graeco-Roman, Ca. 30 BC .A glazed faience tile-shaped inlay in rectangular form with central scene of a lion with thick mane showing tufts and curls, in the motion of killing an antelope of which is pinned on its back. Size: 75mm x 25mm; Weight: 705 (with stand) g 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.
Graeco-Roman, Ca. 31 BC - 395 AD.A faience votive model or incense burner in the form of a cylinder, with a large hole pierced through the centre. For a similar example, see Indiana University Art Museum, Accession Number 92.483. Petrie Museum (UC69682). There are also several faience columns in the Petrie Museum, Accession Number: UC35357, UC35358, UC35359, and UC35360. For additional information, see Petrie, W.M.F. 1890. Kahun, Gurob and Hawara. London: K.Paul, Tench and Trubener.Petrie, W.M.F. 1891. Illahun, Kahun and Gurob. 1889-90. London: D. Nutt. Phillips, J.P. 2002. The Columns of Egypt. Manchester: Peartree Publishing.Size: 55mm x 48mm; Weight: 140g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s.
Ca. AD 200 - 300 .A hollow-cast foot, with silver gilding, originally from a small statue or a votive offering, made with toenails delineated. Votive offerings were made at the temple of a healing god such as Asklepios, the Greco-Roman god of healing and medicine. The use of silver may indicate a wealthy owner as most votives were made from terracotta. Size: 30mm x 25mm; Weight: 30g Provenance: Prince collection, 1990s-2014; Ex. old private French collection, acquired circa 1960 - 1970. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 300 .A pair of bronze life-sized fingers, which would have once been part of a large statue or votive hand. The curves and folds of the fragment reveal a highly naturalistic style, which testifies the Roman artistry and sculptural excellence. Cut right below the intermediate phalange, the hollow fingers presents an uneven edge and some earthy encrustations on the surface. Size: 35/50mm x 45280mm; Weight: 85g 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.
Ca. 100 BC.A fragment from the bottom of a beautful gold-banded Roman glass alabastron with round connical shaped body in a translucent cobalt blue glass with opaque white and gold leaf. Gold flakes are mixed into the color bands of a marble glass form, the glass is referred to as "gold band glass." This set of bands is then repeated six times across the vertical expanse of the jar in wavy, melted forms. The walls of the jar are thick and heavy. For additional information, see The Metropolian Museum of Art, 17.194.286a, b. Size: 40mm x 20mm; Weight: 20g Provenance: Prince collection, 1990s-2014; Ex. Prov. Kofler Truniger collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 200-300.An unguentarium blown from greenish glass with a bulbous lower body and a slightly concave base. The body merges with a tubular neck culminating in a rounded rim. In the Roman world, glass unguentaria such as this one were used to store and apply various cosmetic and medicinal oils and ointments. Size: 140mm x 80mm; Weight: 110g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. AD 400.A silver finger band with a polygonal profile featuring letters inscribed on each facet and a cross mark. Silver rings were reserved in the Roman army fo the ranks of the Centurion, Tribune or Legate, all positions below these levels of the chain of command were only permitted to wear bronze rings. The bezels or bands of such jewellery were typically engraved with inscriptions or symbols relating to the wearer's legion. Size: D:19.15mm / US: 9 1/4 / UK: S; Weight: 3g 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.
Ca. AD 400.A silver finger band with a polygonal profile featuring letters inscribed on each facet. Silver rings were reserved in the Roman army fo the ranks of the Centurion, Tribune or Legate, all positions below these levels of the chain of command were only permitted to wear bronze rings. The bezels or bands of such jewellery were typically engraved with inscriptions or symbols relating to the wearer's legion. Size: D:19.96mm / US: 10 1/4 / UK: U; Weight: 2g 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.
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.
Ca. 1st-2nd Century AD.A fragmentary Roman marble statue, depicting the buttocks and legs of a male youth. Remaining details of the sculpture include long, muscular thighs, one of which has the knee still visible, the genitals and the buttocks. The posture of both legs suggests that the original figure would have been moving or walking. The nudity points to an athletic or even divine context for the figure. For a similar example, see The Metropolitan Museum of Art, Accession Number: 13.229.1. Size: 240mm x 210mm; Weight: 7.75kg Provenance: Property of a London gentleman; Ex. French collection, Paris, Parisian Gallery, 1970-90. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 1st–2nd Century AD.A marble panel featuring a relief scene of a male figure leading a subdued lion. The man is barefoot and nude from the waist up and turned 3/4 to the viewer, displaying a muscular physique. He rests his left hand on a majestic lion with a lowered tail and a gently raised head. Background elements include a semi-circular metal grate attached to a stone-brick wall, perhaps the cage for the lion which would suggest the frieze depicts the machinations of the Roman arena. The reverse side is flat an unworked, suggesting that this piece sat on a wall. Item comes with a professional historical report from Ancient Report Specialists. Size: 360mm x 300mm; Weight: 17.38kg Provenance: Property of a London gentleman; Ex. French collection, Paris, Parisian Gallery, 1970-90. 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. AD 100-200. A bronze helmet with a round skull, topped with a small mushroom-shaped knob (peak) and a modern suspension ring. Massive visor with serrated edge. Widely flaring, contoured neck-guard with reinforcement bands riveted to the sides. Pronounced, embossed, stabilising ribs above the neck-guard. Ear cutouts on the sides with riveted hinge straps for attaching the cheekpieces. This type of helmet, also called “Imperial”, replaced a variety of Republican helmets. Soldiers mainly were responsible for acquiring their own equipment, often inherited from generation to generation. Weisenau helmets were worn by Roman Imperial legionaries and constituted the final evolutionary stage of the legionary helmet. These helmets were classified by H. Russell Robinson, who divided them into “Gallic” and “Italic” types. The earliest Roman piece was found in an Augustan grave at Nijmegen. With some restoration. Item comes with a professional historical report from Ancient Report Specialists, and X-Ray photos. The item includes an investigation report from an independent Belgian laboratory (Hebolabo) for age and authenticity. Size: 340mm x 320mm; Weight: 3.3kg Provenance: From the collection of a European collector; formerly acquired in Belgium in 2013; previously in Dutch collection, 1980s-2000s; Ex. Charles Delaporte collection, 1960s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 300.An iron spatha sword with a long tapering, bevelled blade. The blade culminates in a bone hilt with ribbed decoration and a wooden circular pommel. For additional information, see Bishop, C. C. (2020). The Spatha: the Roman Longsword. Bloomsbury Publishing. Size: 960mm x 80mm; Weight: 905g Provenance: Property of a European collector, acquired on the UK art market, Parthenon Gallery, London 2000s; Ex. Aldo Branca collection, Switzerland, acquired in Munich in 1968. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 300.An iron spatha sword with a long tapering, bevelled blade. The blade culminates in a bone hilt with ribbed decoration and a wooden circular pommel. For additional information, see Bishop, C. C. (2020). The Spatha: the Roman Longsword. Bloomsbury Publishing.Size: 960mm x 80mm; Weight: 905gProvenance: Property of a European collector, acquired on the UK art market, Parthenon Gallery, London 2000s; Ex. Aldo Branca collection, Switzerland, acquired in Munich in 1968. 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 200.A gold finger ring comprised of a round shallow hoop with expanded shoulders and a bezel set with a banded agate intaglio. This charming stone was incised with a left-facing portrait of the god Faunus, known to the Greeks as Pan. In ancient Roman religion and mythology, Faunus is the god of the wild, shepherds and nature. He was associated with rustic music and was a companion of the nymphs. Faunus is depicted with his characteristic hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 14g 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. 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. 2nd century AD (intaglio); Ca. late 18th century AD (ring).An ancient Roman red jasper intaglio of Zeus sitting on the throne with the eagle sitting on his right arm. The intaglio is set in a high carat (20-22ct), possibly later neoclassical gold ring (Grand Tour, Italy).Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 12.6gProvenance: 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. AD 1-200.A gold finger ring formed of a flat-section hoop, widened shoulders with delicate ridges and a bezel cell set with an oval-shaped carnelian stone intaglio. The intaglio depicts the god Apollo, leaning on a column and holding a bow in his hand, a common attribute for the diety. Apollo was a major divinity in the Graeco-Roman canon and was the god of archery, music and dance, truth and prophecy, healing and diseases, as well the Sun and light. For a similar example, see The Metropolitan Museum of Art, Accession Number: 81.6.65. Size: D:15.49mm / US: 4 3/4 / UK: J; Weight: 9g 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. AD 1-200.An oval-shaped onyx intaglio with bevelled edges and an engraved depiction of a legionary eagle standing atop a thunderbolt. The bird has its head turned to the right, and holds the laurel wreath in his beak. This image is an emblematic symbol of victory in a military context, and was likely once set into the ring of a Roman soldier or general. The intaglio is set in a high carat (20-22ct), possibly later gold ring with a carinated profile and broad bezel.Size: D:19.56mm / US: 9 3/4 / UK: T; Weight: 10.2gProvenance: 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. 3rd century AD.A gold finger ring with a circular hoop and large oval-shaped bezel, set with a red jasper intaglio depicting a left-facing portrait of Emperor Caracalla. Caracalla, born Marcus Aurelius Severus Antoninus on April 4, AD 188, ascended to the imperial throne in AD 198 alongside his father Septimius Severus. Notorious for his ruthlessness, Caracalla is perhaps best remembered for the edict of AD 212, known as the Constitutio Antoniniana, which granted Roman citizenship to all free inhabitants of the empire. His reign was marked by a mix of military achievements and internal strife, ultimately ending in his assassination on April 8, AD 217, during a campaign against the Parthians. Size: D: 17.12mm / US: 6 3/4 / UK: N; 9.5g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
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