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Glasnapf, römisch, 4. Jhdt. Hellgrünes, sehr dünnwandiges Glas mit ganz leicht hochgestochenem Boden und Abriss. Nahezu glockenförmige Wandung mit weit ausgestelltem Kragenrand. Auf rundem Hohlfuß. Restauriert. Maße 7,4 x 11,6 cm. An ancient glass bowl from the Roman Empire, 4th century An ancient glass bowl from the Roman Empire, 4th century Hellgrünes, sehr dünnwandiges Glas mit ganz leicht hochgestochenem Boden und Abriss. Nahezu glockenförmige Wandung mit weit ausgestelltem Kragenrand. Auf rundem Hohlfuß. Restauriert. Maße 7,4 x 11,6 cm. Condition: III

A set of eight engravings, Ancient Roman items, designs and motifs. H.35 W.50cm.

Ca. AD 200 - 400. A Roman bronze applique shaped like a phallus, with three hooks on the back for attaching it to a statue or piece of furniture. The object has a beautiful green patina. In ancient Rome, the phallus amulet was used as a talisman to bring good luck, fertility, and protection from evil spirits. The phallus symbol was commonly found in various forms of art, jewellery, and architecture. Size: 22mm x 28mm; Weight: 13g Provenance: Property of London gallery, acquired on the Austrian art market.

Ca. AD 200 - 300. A pair of Roman gold earrings. Each has a large bezel with a central dot set in a circle of filigree and connected to a round twisted hoop. For similar see: Christie's Live Auction 2770 (Ancient Jewellery), Lot. 424. Size: 28mm x 12mm; Weight: 3g Provenance: Private Central London collection; ex. UK art market 1990s.

Ca. AD 100 - 300. A Roman 23ct gold ring with an intaglio depicting an altar under floral and animal motifs. For similar see: Christie's Live Auction 2491 (Ancient Jewellery), Lot. 387. Size: D:17.73mm / US: 7 1/2 / UK: O 1/2; Weight: 4.4g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 500. A group of ancient artifacts comprised of a lead byzantine seal with an inscription and a Roman bronze legionary eagle shown with folded wings and a raised head. Size: 24-30mm x 15-25mm; Weight: 25g Provenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. AD 100 - 300. A Roman Legionary pendant shaped as gladius with a double edge blade tapering to the point. It has a double ridge guard and a spherical pommel. Gladius was a Latin word for sword, and is used to represent the primary sword of Ancient Roman foot soldiers. Early ancient Roman swords were similar to those of the Greeks, called xiphos. Size: 45mm x 12mm; Weight: 12g Provenance: Private UK collection; previously acquired on the Belgian art market in the 1990s.

Ca. AD 100 - 300. A Roman pale blue glass amphoriskos with a circular concave base and globular body. The body tapers to a short, wide neck and folded, flared rim. Connected to the shoulders of the body are two thin, curved handles. A beautiful silvery iridescence adorns the exterior, while one side of the interior is coated in a shimmering iridescent hue. For similar see: C. Lightfoot, The Cesnola Collection of Cypriot Art: Ancient Glass (New York, 2017), Cat.178. Size: 43mm x 42mm; Weight: 18g Provenance: Private UK collection; acquired pre 2000.

Original vintage British European Airways BEA travel poster advertising flights to Rome Italy. Great design by Hugh Casson (1910-1999) featuring the ancient Roman Coliseum against a clear blue sky with people sitting on a bench and walking around outside, a plane flying overhead with the title text and BEA logo below. BEA was a British airline that operated services from 1946-1974, merging with BOAC then forming part of British Airways. Printed in England by The Baynard Press. Good condition, restored paper losses in margin, backed on linen. Country of issue: UK, designer: Hugh Casson, size (cm): 101.5x64, year of printing: 1955.

An Ancient Roman/Egyptian? Rock Crystal Bowl, A/F - Cracked, 2"High x 3"Diam.

VIDIUS, Vidus (=Guido GUIDI). Chirurgia è Græco in Latinum conversa. Paris, P. Gaultier, 1544. (36), 533, (1) pp. W. num. woodcut illustrations after Primaticcio and Jean Santorinos, ornamental metalcut initials. Roman and Greek types. Fol. 18th c. full vellum. (2 lvs. missing: q3 & q6 are replaced by duplicates of m3 & m6, else a very fine and extremely clean copy). NOTE: One of the most beautiful science books of the renaissance, this edition includes Latin translations of treatises on surgery by Hippocrates, Galen, Oribasius, and others, with commentaries by Galen and other ancient writers. Hippocrates' treatise on dislocations and Soranus' work on bandages are illustrated with woodcuts, many of them full-page, which illustrate the treatments discussed in the text. Both texts and illustrations derive from a tenth-century illustrated Greek manuscript compiled by the Byzantine physician Nicetas. Brought to Italy by Janus Lascaris in 1495, this codex (now Florence, Laur. Plut. LXXIV, 7) was used by the Florentine physician Guido Guidi for the preparation of this Latin translation. Guidi, a native of Florence and grandson of the painter Domenico del Ghirlandaio, was physician to King Francis I of France and the first professor of medicine at the Collge de France (1542-48). While in Paris he shared quarters with Benvenuto Cellini, who also accommodated the press that produced this edition. The woodcuts, probably by Franois Jollat, were based on drawings by Primaticcio and Jean Santorinos that were copied in turn from the tenth-century codex. - Roberts & Tomlinson, p. 234: "This work (…) stands alongside Vesalius' work on anatomy, and Fuch's on botany (…) all are humanist publications remarkable for the excellence of their woodcut illustrations (…)"; Choulant-Frank pp. 211-2; G-M 4406.1; Osler 155; Waller 1960; Wellcome 6596; Norman 954. - From the library of J. van der Hoeven and with his bookplate.

An ancient pottery amphora vase, possibly Roman, of typical form, mounted in an iron frame, 50cm high

A rare ancient Roman AS Titus 80-81AD, 10.9g

Three silver/billon ancient Roman Denarius

Interesting tin of Roman & Ancient coins

Ancient Roman Terracotta hand thrown jug. Handwritten 'Sicily' to base. Height: 12.5cm

A collection of ancient pottery fragments and shards including several examples with handwritten locations within Roman Britain including Viroconium and Melanara (1 tray)

A collection of ancient pottery fragments and shards including one with handwritten locations within Roman Britain including Corstopitum (1 Tray)

A collection of ancient pottery fragments and shards including part of a Medieval tile, part of a large Earthenware jug / Amphora and some examples with handwritten Roman Town names including Viriconium and Cilurnum (1 Tray)

An interesting collection of ancient glass fragments and shards including examples marked from Silurum, Reculver and loose coloured fragments likely Roman, three animal teeth, three Iron fragments and a black pottery small pot (1 tray)

Ancient Rome and Egypt. A quantity of artefacts. Including Roman coins, Roman British Seal Box Lid, 3 Roman Lead Spindle Whorls, Egyptian Pottery Mould. Broken pot parts

Five roman coins comprisingVespasian (69-79AD), Sestertius Domitian (81-96AD) Denarius Crispina (wife of Commodus from 178AD - 183AD) Sestertius Maximinus (235-238AD) Dupondius Philip I (244-249AD) AntoninianusTogehter with a Greek coin (bronze drachm) and twenty four ancient coins. (30)

Twelve coins from the Ancient Greek and Roman period, to include examples from the reigns of Philip II, Constantius II, Tetricus, Licinius, Nero, Victorinus, Claudius, Carausius, etc, all labelled in paper slips.

Antiquarianism, Palaeography and Bibliography, Topography & History. Cheshire: Ormerod (George) & Helsby (Thomas, editor), The History of the County Palatine and City of Chester, three volume set, bound in six parts, London: George Routledge and Sons, 1882, double-column, plates and in-text illustrations, later 20th c institutional red over grey cloth, uncut, folio (48.5 x 33.5cm); Architecture: Birch (George H., FSA), London Churches of the XVIIth and XVIIIth Centuries [...], London: B.T. Batsford, 1896, illustrated with 64 plates, contemporaneous green quarter-morocco over cloth, uncut, folio (49 x 39cm); Foster (J.J.), Concerning the True Portraiture of Mary, Queen of Scots, Illustrated by numerous examples selected from Famous Collections, de luxe edition copy no. 53/175 signed and numbered by the author, London: Dickinsons, 1904, original red morocco over cloth gilt, top edge gilt, others uncut, folio (44 x 34cm); Yorkshire: Whitaker (Thomas Dunham, FSA) & Morant (A.W., FSA, editor), The History and Antiquities of the Deanery of Craven, third edition, Leeds: Joseph Dodgson, London: Cassell, Petter & Galpin, 1878, additional architectural aquatint title-page, lithograph plates and folding pedigrees, contemporary tan morocco over bevelled boards, blocked in blind and gilt, rubbed, split at inner-gutter, folio (37 x 29.5cm); Hewins (W.A.S.), The Royal Saints of Britain, London: Privately printed at The Chiswick Press, 1929, original publisher's cloth over boards, uncut, 4to; Brindley's & Weatherley's Ancient Sepulchral Monuments, London: Vincent Brooks, Day and Son, 1887, illustrated, later cloth, folio (38.5 x 28.5cm); Oliver Cromwell; Keynes (Simon, editor), Anglo-Saxon Charters: Supplementary Volume I, Facsimiles of Anglo-Saxon Charters, Published for The British Academy by Oxford University Press, 1991, folio (58.5 x 43.5cm); Douglas (David C., editor), The Domesday Monachorum of Christ Church Canterbury, London: Offices of The Royal Historical Society, 1944, original cloth, folio (43.5 x 34cm);  Colgrave (Bertram, editor), The Paris Psalter, MS. Bibliothèque Nationale Fonds Latin 8824, Copenhagen: Rosenkilde and Bagger, 1958, later cloth, folio (47.5 x 36.5cm); Book of Common Prayer: Facsimile of the Black-letter Prayer-book of 1636 [...], Published for The Royal Commission on Ritual, et al, 1870, photo-zincographed, original publisher's cloth, worn and torn, folio (41.5 x 28cm); Studies in the Script of Tours, I: A Survey of the Manuscripts of Tours, Volume II, Plates, Cambridge, Massachusetts: The Medieval Academy of America, 1929, later cloth, folio (42 x 32cm); Studi e Testi: Il Papiro Vaticano Greco 11, Città del Vaticano: Biblioteca Apostolica Vaticana, 1931, later cloth preserving original wrappers, folio (43.5 x 32.5cm); Kenyon (Frederic G., editor), Facsimiles of Biblical Manuscripts in the British Museum, 1900, original green quarter-morocco over cloth, folio (40 x 29cm); incunabula: Facsimiles from Early Printed Books in The British Museum, 1897, original cloth over papered boards, folio (39.5 x 29cm); Schools of Illumination: Reproductions from Manuscripts in The British Museum, Part I: Hiberno-Saxon and England to A.D. 1100, 1914, bound en suite to the latter as issued, folio (40 x 29cm); The Worshipful Company of Stationers, 1903, folio (38 x 28cm); Architecture, Italy: Medieval: Jacobi (C., photographer), Dettagli di altari, monumenti, scultura ecc. Della Basilica di San Marco in Venezia, part VIII only, [Venice]: Ferdinando Ongania Edit., 1881, plate volume of approx. 60 plates of heliotypes only, miscellaneous un-sequential numbering, some with two numbers to a plate, loose gatherings in original publisher's wrappers enclosed in a portfolio of cloth over printed papered boards, folio (42 x 34cm); & Roman: Moretti (Giuseppe), Ara Pacis Augustae, two parts: text volume and plate portfolio, Roma: La Libreria Dello Stato, 1948, double-column, the first part with in-text illustrations, the second with loose plates as issued, original cream cloth gilt over boards, top edges gilt, others uncut, folio (42.5 x 31cm); etc., (29) Withdrawn ex-library stock, with their bookplates and labels, stamps &/or stickers, and in cases their institutional bindings. Some stamps might affect letterpress or plates. Unexamined and sold with all possible faults and not subject to return.

Athenian Law.- Petit (Samuel) Leges Atticæ, first edition, Roman and some Greek type, title printed in red and black and with large engraved printer's device, woodcut head-pieces and decorative initials, é4 blank, some foxing, occasional staining, mostly lightly browned, contemporary vellum, yapp edges, short split to vellum at head of upper joint, very small tape repair to lower cover, little staining, folio, Paris, Charles Morel, 1635.  *** First edition of Samuel Petit’s important and handsomely printed study of ancient Athenian law, dedicated to Francis Auguste de Thou, the son of Jacques. Petit was a distinguished classical scholar and orientalist, and professor of Greek and later principal of the Collège des Arts at Nîmes. 

MAXIMIANUS AD 286-310 ANCIENT ROMAN COIN

BRUCE (J), THE HAND-BOOK TO THE ROMAN WALL, 3rd edition, with paste in letter from the author to Charles Warne and dated ‘Newcastle Upon Tyne 12th January 1889’, the letter refers to the book and Bruce sending it to Warne and 'Ancient Dorset', London, Longmans, 1883. Charles Warne is possibly the son of the English antiquarian and archaeologist who specialised in prehistory Dorset (1).

COLLECTION OF ANCIENT ROMAN COINS, in silver and bronze, all encapsulatedQty: 6

COLLECTION OF ANCIENT ROMAN COINS, in silver and further, twenty-eight in total, along with one counterfeit Roman coin, all encapsulatedQty: 29

COLLECTION OF ANCIENT ROMAN COINS, in silver and bronze, all encapsulatedQty: 6

A hardstone intaglio necklace, intaglios Roman, 1st-3rd century AD and later, set with a sequence of thirteen ancient Roman and 18th century intaglios, each in a gold collet setting, to a double back chain, the intaglios including: Hermes in profile and lady in profile, carnelian, both 18th century; Hercules tearing a youth from horseback, amethyst, 18th century; a nude warrior bearing arms, possibly Achilles, chrome chalcedony, 1st-3rd century AD; a young satyr with hunting stick (pedum), bloodstone, Roman, 1st-2nd century AD; the Nemean lion, carnelian, 1st-2nd century AD; two juxtaposed satyr masks, carnelian, 2nd-3rd century AD; an old satyr in profile, carnelian, 18th century; a charioteer in biga, carnelian, 2nd-3rd century AD; a figure of Victory seated on a cuirass holding a wreath, chrome chalcedony, 1st-2nd century AD; a seated lion, bloodstone, 18th century; a standing lion within an orlo etrusco border, carnelian, Late Etruscan/Italic 2nd-1st century BC; and Cupid kneeling with an offering before a statue of Priapus, Roman, 1st-2nd century AD, largest intaglio 1.2 x 1.8cm, necklace length 41cm

Paire de groupes en bronze représentant un chien attaquant un cerf Atelier Francesco Righetti (1749-1819), signée et datée F. RIGHETTI.F.ROMAE.1816 et sur un socle en marbre rouge et ardoise A pair of two bronze groups of a hunting dog attacking a deer, workshop of Francesco Righetti (1749-1819), dated 1816Each standing on a rectangular bronze base signed and dated F. RIGHETTI.F.ROMAE.1816 and on a red marble and slate stepped plinth, 27.5cm wide, 21.5cm high (10 1/2in wide, 8in high) Footnotes:The Roman sculptor Francesco Righetti was trained in the workshop of the silversmith and bronzier Luigi Valadier, where he was most likely employed in the modelling and casting of bronzes. Very gifted, Righetti quickly became a successor to his teacher, and in 1779 he opened his own studio in via della Purificazione. He then produced mainly very well cast replicas of notorious ancient statues responding to the high demand of Grand Tour tourists visiting Rome. It was in 1781 that Righetti received his first known large-scale commission, for twelve full-sized lead casts of famous statues for the English banker Henry Hope at his country house at Welgelegen, near Haarlem.For further information on this lot please visit Bonhams.com

A CARVED BOXWOOD FIGURE OF A SATYR WITH YOUNG BACCHUS ITALIAN, 18TH CENTURY Old inscription to base "Infant Pan Early Italian" 35cm high, base 9.5cm wide This figural group is a boxwood version of the famous ancient marble Satyr with young Bacchus formerly in the Farnese collection and now in the Museo Nazionale in Naples (inv. 6022). In the 16th century the statue formed part of the collection of antiquities of the Cesarini, a prominent Roman aristocratic family, who - in a fashion not uncommon at the time - traced their lineage to no less than Julius Caesar (M. de Montaigne, Journal de Voyage en Italie, Paris, 1580-81, pp. 275-276). In 1593 Cardinal Odoardo Farnese acquired the Satyr with young Bacchus from Duke Giuliano IV Cesarini, along with the rest of the collection. The theme of Bacchus's childhood, spent on the hills of mount Nysa in the company of satyrs and maenads, had enjoyed significant popularity since antiquity, as testified above all by the famous Hermes and the Infant Dionysus group attributed to Praxiteles (4th century BC, now Archaeological Museum, Olympia, Greece). The present model depicts a satyr playing cymbals whilst the infant Bacchus sits on his shoulders holding a bunch of grapes. This lively scene captures a seminal event in the life of the young god, for this is the moment when he is first introduced to the fruits of the vine. In the ancient world, many different cultures throughout Europe and Asia Minor established cults of Bacchus, centred on festivals such as the Athenian Dionysia and Lenaia, in which musical instruments like the cymbals and panpipe represented here played a key role. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Old shrinkage around sectional joint construction with some later remedial work- both satyr's arms, left hand cymbal, child's left arm and right wrist, hips and the base Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

A RARE ROMAN MARBLE HEAD OF A BOY AS EROS CIRCA 1ST/2ND CENTURY A.D., ON A 16TH CENTURY BUST AND SOCLE The head set on Renaissance shoulders, further turned socle below 60cm high overall, 35cm wide across the shoulders Provenance; Private collection, France. Literature; C. Giroire & D. Roger, Roman Art from the Louvre, exh. cat., Musée du Louvre, Paris, 2007. V. Dasen, 'Wax and Plaster Memories: Children in Elite and non-Elite Strategies', in V. Dasen and T. Spath (eds.), Children, Memory, and Family Identity in Roman Culture, Oxford, 2010, pp. 109-145. J. Huskinson, 'Constructing Childhood on Roman Funerary Memorials', Hesperia Supplements, vol. 41, (2007), pp. 323-338. Oscar F. Waldhauer, Sketches on the History of Ancient Portraiture, Vol. I, St. Petersburg, 1921, pp. 43-48. Epitomising youthful charm, this work shows the thoughtful expression typical of classical portrait busts. His soft face is characterised by supple cheeks, full lips, almond-shaped eyes, and dimpled chin. The boy's hair is styled in the guise of Cupid, the Roman God of affection and desire; a large central braid which runs from the forehead to the crown of his head parts gently tousled thick waves of hair. Though this distinctive hairstyle can be traced back to depictions of Eros from Hellenistic Greece, it was adopted by the Romans in the following centuries as a defining characteristic of the deity Cupid. Whilst the bust's large central braid leads to an identification with Cupid, the slightly imperfect, asymmetric facial physiognomy suggests that the work was sculpted as a private commemorative portrait. A particularly popular practice in the second century A.D. saw the sculpting of portrait busts with personalised features styled into an overall type of mythical figure, and examples can be found in both the case of adults and children. Comparison can be drawn both with a circa 2nd century A.D. marble Roman Child (previously in the Hermitage Museum, St. Petersburg) and circa 2nd century A.D. marble Head of a Boy or Harpocrates (previously in the Collection of Etienne Duval (1824-1914), Geneva)- both illustrated in Oscar F. Waldhauer, Sketches on the History of Ancient Portraiture, Vol. I, St. Petersburg, 1921, pp. 43-48 viewable online in Russian and English WALDHAUER CHAPTER THREE Further images for the Duval head are viewable online here HERE (1) HERE (2) and HERE (3) the last being a reproduction of the portrait of Etienne Duval by Henry van Muyden (1860 - 1936),with the winged head conspicuous in the background. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. In a generally good state of preservation, with sensitive old and more recent restoration and infill to the nose, cheeks around the nose, lips and around the joint at the head/neck join. The bust and the 'tableta' beneath the chest are all one piece of marble and are mounted on a separate tall cylindrical socle which has a simple moulded detail at the top and bottom. The marble head is very well preserved considering its age and retains a great amount of the clarity and complexity of the carving, especially in the very detailed carving of the hair. There are some small chips and wear to the surface of the marble throughout, as would be expected of a sculpture of this age, and the lock of hair on the forehead is worn, a lock near his left ear is missing and the rear end knot of the central hair braid is absent. There are some small old chips to the marble to the eyelid, left cheek, tip of the nose, lips and the buckle/brooch on his shoulder. Provenance: This was purchased in a French auction within the last 5 years and we have a French Passport which we will forward to the purchaser after the sale. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

A BRONZE FIGURE OF A WARRIOR ANCIENT ROMAN STYLE, PROBABLY 20TH CENTURY Bronze with green encrusted verdigris patination, slate base 37.5cm high, base 15.2cm wide Condition Report: With deliberate "aged" surface and wear including hole to his left flank, left arm and handCondition Report Disclaimer

JOSEPH GOTT (1786-1860) SLEEPING NYMPH Terracotta Signed and dated J. GOTT. 1826 6.5cm high, 22cm wide, 7.4cm deep Provenance Harold Julian Amery, Baron Amery of Lustleigh, PC (1919-1996), United Kingdom. The Yorkshire born artist Joseph Gott is considered to have been amongst the finest British sculptors working in the first half of the nineteenth century. He had trained under John Flaxman between 1798 and 1802 before entering the Royal Academy in 1805 aged just 20. A gifted artist who combined a skill for working in the Classical manner with an undoubted joy in portraying dogs and children, in 1822 he was awarded a pension from the Academy's then president Sir Thomas Lawrence, for travel abroad specifically to Italy as well as a personal letter of introduction to Europe's greatest living sculptor, Antonio Canova (1757 - 1822). Despite hardship, family tragedy and depression, he thrived in Rome. He forged a career ranging from monuments to public figures, portrait busts and, as with these two examples, more playful animals and children in natural harmony. "Every visitor to Rome, this half century past, has looked in at the studio of M. Gott..." The Athenaeum, 28 January 1860, p.139, in T. Friedman and T. Stevens, Joseph Gott, 1786-1860, Sculptor, exh. cat., Leeds and Liverpool, 1972, p. 56. The present terracotta portrayal of a nymph asleep is exemplary of Gott's admiration for both Canova and classical antiquity, as it draws upon the pose of the famous Sleeping Hermaphrodite - an ancient Greek composition from the Hellenistic period known through a limited number of ancient Roman copies - which had also inspired Canova's own Sleeping Nymph, commissioned by Lord Lansdowne in 1821 and completed, after the master's death, by his workshop in 1824 (Victoria & Albert Museum, London, accession number A.30-1930). The ancient original Hermaphrodite was in bronze, as described by Pliny the Elder, but the Roman versions that have come down to us are all in marble. The most famous amongst these is the statue acquired around 1620 by Cardinal Scipione Borghese and housed in Villa Borghese in Rome until purchased by Napoleon Bonaparte at the beginning of the 19th century, which is now in the Louvre Museum. Another ancient marble representing the Sleeping Hermaphrodite was restored for the Ludovisi, a prominent family of Roman collectors, around 1621-23 and in 1669 acquired by Grand Duke Ferdinando II of Tuscany for the Uffizi, where it is still on view. In the Grand Tour period, the Sleeping Hermaphrodite was mostly reproduced on a reduced scale, a tradition that had begun decades earlier with Giovanni Francesco Susini's bronze version of it from 1639 (Metropolitan Museum, New York). A small marble was made for Petworth House, without the male genitalia, which underlines how the iconography could be transformed into that of a nymph. Gott himself exhibited a marble Sleeping Nymph at the 1826 RA exhibition, which is untraced and must have been connected to the present terracotta, dated the same year. Two years before, Gott had made a small terracotta Sleeping Venus for his mentor, Sir Thomas Lawrence, which likely resembled the present composition. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Chip to one base corner- other nibbles to base edge- firing flaws to plinth either side of incised signature- surface dirt Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

A MARBLE FRAGMENT- THE HIND OF AN ANIMAL ANCIENT ROMAN Of leonine form 22.5cm long, 21.5cm high 15.5cm deep Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Fragment and with losses and surface wear throughout. Provenance - This came from an antique dealer in the Midlands who purchased it from an elderly collector who acquired it in the 1920s or 30s. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

A BRONZE STANDING FIGURE OF PAN ANCIENT ROMAN, 1ST- 3RD CENTURIES Depicted horned, left hand held up, set on later Perspex base figure 13cm high, 14cm high overall Condition Report: Losses and wear to surface throughout, lacks feet and tail, traces of sea or water deposits With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Purchased in a group lot a few years ago from a European auction house. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

ITALIAN SCHOOL (18TH CENTURY) ENDYMION SLEEPING WITH HIS DOG BESIDE HIM Oil on canvas, en grisaille 163 x 112cm (64 x 44 in.) Provenance: Sir John Richardson (1924-2019), New York (photographed in situ in 'The Great Room' for New York Magazine, 18 February 2014)Literature: Apollonius of Rhodes, Argonautica H. S. Jones, A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome: The Sculptures of the Museo Capitolino, Oxford, 1912 D. E. Robinson, 'A Question of the Imprint of Wedgwood in the Longer Poems of Keats', Keats-Shelley Journal 16, 1967, 23-28 Though several varying myths regarding Endymion survive to us from antiquity, the present scene depicts him as a youthful shepherd asleep on Mount Latmus. One version of the myth sees Jupiter punish the youth for pursuing a romantic interest in Juno, however this present painting likely depicts the latter variant: Selene, Titan goddess of the moon so loved Endymion's beauty, she asked Jupiter to grant him eternal youth. Whatever the case, Jupiter granted Selene's wish, placing Endymion into an eternal sleep so Selene could visit him every night to admire his beauty.This elegantly painted grisaille, a technique that mimics bas-reliefs and sculpture, depicts Endymion sleeping with his dog beside him. It is based on a second-century A.D. Roman bas-relief currently housed in the Capitoline Museum in Rome. Seated on a rock asleep, the figure's long locks of gently curled hair frame his face. Content in his slumber, Endymion's right arm hangs tenderly down, whilst his left arm rests on his bent knee. Over his left arm and covering partially the rock on which he sleeps is an intricately draped chlamys. Appearing as if it could almost spring to life, a dog is depicted upright and animated, attempting to rouse Endymion from his peaceful, dormant state. Whilst for the most part, the painting appears to imitate its ancient counterpart, the facial features here suggest a more tranquil state of sleep when compared to the flat expression of the marble bas-relief.Artists such as the gem engraver Nathaniel Marchant and the ceramicist Josiah Wedgwood both produced Grand Tour artworks depicting the Capitoline Museum bas-relief. This painting reflects the renewed interest in classical art during the late eighteenth and early nineteenth centuries, drawing inspiration from Roman antiquities. It skilfully captures the realism of Imperial Roman sculpture, blending classical ideals with lifelike precision.This lot belonged to Sir John Richardson, art historian and author of the magisterial biography of Pablo Picasso, the first volume of which was published in 1991 and which won the Whitbread book of the year award. Sir John Richardson gave the eulogy at Andy Warhol's funeral. Condition Report: The canvas is lined and the paint surface is slightly dirty with a clear but uneven varnish. The broad weave of the canvas has resulted in a surface that is slightly pock-marked with pinprick losses scattered particularly in the upper half of the painting. There is visible retouching to a repaired horizontal tear in the upper left corner, approx. 17cm. long. There are also fine lines of visible retouching to the network of craquelure in the shadow behind Endymion. Inspection under ultraviolet light confirms the aforementioned retouching and further reveals retouching to a small horizontal tear, just above the centre of the lower margin, approx. 5 cm. long. Otherwise only a handful of spot retouchings are visible, for example above the figure's belly button and in the shoulder of the dog. The painting presents well in its current state and is in overall good condition.Condition Report Disclaimer

AFTER THE ANTIQUE- A LARGE AND RARE WHITE MARBLE FIGURAL GROUP OF CUPID AND PSYCHE ROMAN, 18TH CENTURY On a Breccia Africana and white marble column, the column being ancient Roman group 136cm high, 232cm high overall This intimate marble group of Cupid and Psyche embracing is after the Roman model excavated on the Aventine Hill in 1749, and which was gifted by Pope Benedict XIV to the Capitoline Museum in the following year. Its subject has traditionally been identified as Cupid and Psyche, a theme that had long been familiar to artists and antiquarians from ancient reliefs, sarcophagi, intaglios, and free-standing statues, such as the one discovered at Santo Stefano Rotondo in 1666, in the possession of the Medici Grand Dukes since the late 17th century. As Haskell and Penny note in Taste and the Antique, it was the Capitoline statue's "sentiment that most appealed to both travellers and scholars - 'the first burst of youthful loveliness', the 'innocent fondness', the 'virginal' and ingenuous gesture of Psyche" (p. 190). The story of the young lovers, which originates in the 2nd century A.D. novel Metamorphoses by Apuleius, tells of how Venus' divine son Cupid fell in love with the mortal princess Psyche, and the obstacles she had to overcome to be reunited with him. In the 18th century, the composition was popularised by small scale reproductions in bronze, such as those by the Zoffoli workshop in Rome, and other media, such as Wedgwood intaglio and Sèvres porcelain. The present marble, which matches in material and size the Capitoline original and stands on a beautifully striated marble column, speaks of a more ambitious commission, either from an Italian patron or a Grand Tourist, intended for a stately palazzo or townhouse, or a grand country residence. Literature: F. Haskell and N. Penny, Taste and the Antique, the Lure of Classical Sculpture, 1500-1900, London, 1981, pp. 189-191.

THE DE ROTHSCHILD VASES: AN IMPORTANT PAIR OF CARVED IMPERIAL PORPHYRY VASES FRENCH, 18TH/19TH CENTURY Each in Egyptian porphyry with waisted neck flanked by dolphins, the gadrooned body embellished with a frieze carved with rinceaux and male masks, on a waisted socle and square plinth 53cm high, 34cm wide, bases 14.3cm square Provenance: Vase 1: Almost certainly the De Rothschild Collection, thence to an important Swiss collection, by repute, Alain Moatti, possibly acquired from Galerie Camoin Demachy, Paris Vase 2: The De Rothschild Collection, Exbury House, Hampshire Literature: P. Malgouyres et al., Porphyre: La Pierre Pourpre Des Ptolemées Aux Bonaparte, Paris, 2003 D. del Bufalo, Porphyry: Red Imperial Porphyry. Power and Religion, Turin, 2012 Quarried exclusively at Mons Porphyrites in the Eastern Desert of Egypt, Imperial porphyry has been prized since antiquity for its remarkable hardness and lustrous purple colour, which bears a close resemblance to that of a particularly expensive pigment developed by the Phoenicians, known today as Tyrian dye. Several literary sources from antiquity speak of Alexander the Great's partiality to this colour, of his custom of wearing purple robes and of decorating his palaces with porphyry. The heirs to his throne in Egypt, the Ptolemies, are said to have continued this tradition, but it is only with the Roman Emperors Nero and Vespasian, towards the end of the first century A.D., that the association of porphyry with secular and religious power became established in Western civilisation. Rome, the seat of the Empire, is where centuries later ancient porphyry statues, slabs, columns and vessels were excavated, as a result of the Renaissance period's renewed interest in classical art and architecture. The potent symbolism of porphyry, with its strong imperial connotation, thus assumed an additional level of meaning, as an emblem of Renaissance courts' erudition, fascination with antiquity and aspiration to parallel ancient Rome's splendour. By the seventeenth and eighteenth centuries, porphyry was avidly collected by powerful figures such as the Medici Grand Dukes of Tuscany, the French cardinals Richelieu (1585-1642) and Mazarin (1602-1661), and the 'Sun King' Louis XIV of France (1638-1715), who had a buying agent in Rome for his acquisitions. The interest in porphyry was such that it prompted artists to rediscover the art of carving it, a practice for which ancient Roman columns and other fragments were used, since Mons Porphyrites in Egypt had become inaccessible, a fact that further enhanced the rarity and value of works in this material. The presence in Rome of influential figures such as Cardinal Richelieu introduced to Paris the taste for beautifully carved porphyry, which arguably culminated during the reign of the Sun King Louis XIV. In his residence at Versailles, the Gallery of Mirrors boasts to this day one of the most extraordinary collections of porphyry objects, comprising both vases and busts. Whilst no prototype has been identified for the design of the present pair of vases, the dolphin handles are emblematic of the Grand Dauphin (1661-1711), the son of Louis XIV. The zoomorphic handles follow in the tradition of Roman porphyry vases of the 17th century, such as the vase carved by Giovanni Battista Pozzi around 1684, now in the Wallace Collection (inv. F362). Another single porphyry vase, featuring a lid surmounted by a dolphin, was recently sold by Sotheby's Paris (16 June 2020, lot 4, EUR 200,000 including buyer's premium). These vases were almost certainly together as a pair whilst owned by the De Rothschild family in the 19th/20th century, whereafter they were separated, one remaining in the Rothschild collection until the 21st century, whilst the other found its way to an Important Private collection in Switzerland. After purchasing the vases separately, the vases have now been reunited, after decades apart, by Tomasso. Two further pairs of nearly identical form have been auctioned in the twentieth century at Christie's New York (26 October 1994, lot 108) and at Sotheby's Monaco (14 June 1997, lot 125). Condition Report: With wear as per age and use. In the flesh, the pink inclusions are slightly stronger in colour than main catalogue images suggest. Some mild variance to design by the very nature of the material. Natural flaws to material, some edge wear and minor losses. All noses to masks with small holes. First vase- quite shallow depth to internal aperture, dark marks around top rim, small area of old restoration to one cheek of mask and with natural flaw running through it up diagonally, fritting around top collar of socle base, spot restoration to corners of plinth, underside with distinctive square cut access to stem support, looks to possibly have had internal stem remounted for better stability. Second vase, deeper internal aperture- this has been suggested as being as a result of prior use as lamp base, old knock to top edge, small loss of leaf below handle, area of restoration to socle, plinth with old break and repair. Edge and small corner chips to base. Provenance: First vase: Almost certainly the De Rothschild Collection, thence to an important Swiss collection, by repute, Alain Moatti, possibly acquired from Galerie Camoin Demachy, Paris Second vase: The De Rothschild Collection, Exbury House, Hampshire Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on requestCondition Report Disclaimer

AFTER THE ANTIQUE- A CARVED FRUITWOOD FIGURE OF THE APOLLO BELVEDERE ITALIAN, 17TH/18TH CENTURY On an integrally carved circular plinth figure 53cm high Provenance: Yves Saint Laurent and Pierre Bergé Collection Private collection, Lombardy. Literature: F. Haskell & N. Penny, Taste and the Antique, Yale University Press, 1981, p. 148-151 J. J. Winckelmann, Writings on Art, ed. David Irwin, Phaidon, 1972, p. 140. This figure is a rare fruitwood model of the celebrated antique marble in the Belvedere courtyard in the Vatican, known as the Apollo Belvedere. While scholars have been divided on whether the work is a Greek original, or a Roman copy of a fourth-century Greek bronze carved during the Hadrianic period, the Apollo Belvedere remains without doubt one of the most sublime statues surviving from ancient times. Its ancient provenance, along with its discovery are unknown; however, by the end of the sixteenth century, it was in possession of Cardinal Giuliano della Rovere, the future Pope Julius II, who moved it to the Vatican during his pontificate. There, it was displayed in a niche in the Belvedere courtyard, where, with the exception of the period between 1797 to 1816, when it was ceded by Pope Pius IV to the French (under the Treaty of Tolentino) and displayed in Paris, it has remained ever since. Admired for its physical beauty and underlying sensuality, for the preeminent neoclassical art theorist, Johann Joachim Winckelmann, the Apollo Belvedere represented the apogee of the Greek ideal. Winckelmann ascribed to the work 'a noble simplicity and quiet grandeur', one that had an incredibly powerful agency: "In the presence of this miracle of art I forget all else, and I myself take a lofty position for the purpose of looking upon it in a worthy manner [...] I feel myself transported to Delos and into the Lycaen groves, - places which Apollo honoured by his presence [...]". An icon of the Enlightenment, the Apollo Belvedere was widely copied and translated into a great variety of materials, and this fruitwood version is an unusual and rare survival from this period. The fine grain of this fruitwood allows for passages of very intricate carving on a minute scale and, when polished, enables the work to take on a rich brown coloration in a similar manner to bronze. Versions of classical sculptures made from these types of woods appealed to the same collectors who prized bronze statuettes. Condition Report: Saleroom Notice- the description has been updated and differs from the printed catalogue- the figure is 53cm high. With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with typical remedial/conservation work around jointed construction points- elbows, hands, base, knees and legs etc. These have occurred at different times- with differing levels of execution- surface with attrition scuffs from handling, signs of repairs to old damages to base of cloak, fold of cloak and right hand- which are more restoration than conservation. Shrinkage faults- some later infill Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

ATTRIBUTED TO IGNAZIO (1724-1793) AND FILIPPO COLLINO (1737-1800)- A WHITE MARBLE PORTRAIT HEAD OF A YOUNG NOBLEWOMAN TURIN, C. 1770 On a Breccia Violetta socle base 47cm high overall, 21cm wide, 19cm deep Provenance: Private collection, England. This bust presents stylistic similarities with the four busts representing Pomona, Ceres, a Naiad and a Nymph, by the brothers Ignazio and Filippo Collino circa 1770 for the Savoy's family luxurious hunting lodge, the Palazzina di Caccia di Stupinigi. When comparing the busts, there's a strong resemblance in the delicate facial features that lend them a serene and graceful presence, and particularly in the lips betraying the slightest smiles. The sculptural detailing and surface texturing of the marble, which contrasts the smooth skin of her face with the undulating strands of hair resting on the shoulders, attest to both the exquisite artistry and the technical skill of the sculptor. After his initial training in Turin with Claudio Francesco Beaumont (1694-1766) and Francesco Ladatte (1706-1787), Ignazio Collino, the eldest of the two brothers, moved to Rome in 1748. There, he entered the atelier of the sculptor Giovanni Battista Maini (1690-1752), where he devoted himself to the careful study of ancient works and completed several copies which he sent back to Turin. Alongside Greek and Roman statuary, Ignazio became particularly interested in the classical sixteenth-century works. His brother Filippo joined him in 1754 and together they embarked on a period of intense activity, characterised by a series of prestigious commissions such as the four statues and four allegorical bas-reliefs commissioned by King Carlo Emanuele III (1701-1773) for the Galleria Beaumont in the Royal Armoury, Turin. Elected as academicians of merit at the Accademia di San Luca in Rome, the two brothers returned to Turin in 1767 and were appointed directors of the Royal Sculpture Studio, receiving numerous private and public commissions.

AN ANCIENT ROMAN AMBER GLASS BOWL CIRCA 4TH CENTURY A.D. of circular form with twin ring banding above ribbed body 8.4cm high, top 11.7cm diameter Condition Report: Old damages and repairs. Dino Tomasso private collection for over 20 years.Previously purchased from an English country auction.  Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request.  Condition Report Disclaimer

JOSEPH GOTT (1786-1860) SLEEPING BACCHANTE Terracotta Breccia Africana marble base, signed J GOTT. FT 40cm wide, 28cm high including marble base The Yorkshire born artist Joseph Gott is considered to have been amongst the finest British sculptors working in the first half of the nineteenth century. He had trained under John Flaxman between 1798 and 1802 before entering the Royal Academy in 1805 aged just 20. A gifted artist who combined a skill for working in the Classical manner with an undoubted joy in portraying dogs and children, in 1822 he was awarded a pension from the Academy's then president Sir Thomas Lawrence, for travel abroad specifically to Italy as well as a personal letter of introduction to Europe's greatest living sculptor, Antonio Canova (1757 - 1822). Despite hardship, family tragedy and depression, he thrived in Rome. He forged a career ranging from monuments to public figures, portrait busts and, as with these two examples, more playful animals and children in natural harmony. "Every visitor to Rome, this half century past, has looked in at the studio of M. Gott..." The Athenaeum, 28 January 1860, p.139, in T. Friedman and T. Stevens, Joseph Gott, 1786-1860, Sculptor, exh. cat., Leeds and Liverpool, 1972, p. 56. The present terracotta portrayal of a nymph asleep is exemplary of Gott's admiration for both Canova and classical antiquity, as it draws upon the pose of the famous Sleeping Hermaphrodite - an ancient Greek composition from the Hellenistic period known through a limited number of ancient Roman copies - which had also inspired Canova's own Sleeping Nymph, commissioned by Lord Lansdowne in 1821 and completed, after the master's death, by his workshop in 1824 (Victoria & Albert Museum, London, accession number A.30-1930). The ancient original Hermaphrodite was in bronze, as described by Pliny the Elder, but the Roman versions that have come down to us are all in marble. The most famous amongst these is the statue acquired around 1620 by Cardinal Scipione Borghese and housed in Villa Borghese in Rome until purchased by Napoleon Bonaparte at the beginning of the 19th century, which is now in the Louvre Museum. Another ancient marble representing the Sleeping Hermaphrodite was restored for the Ludovisi, a prominent family of Roman collectors, around 1621-23 and in 1669 acquired by Grand Duke Ferdinando II of Tuscany for the Uffizi, where it is still on view. In the Grand Tour period, the Sleeping Hermaphrodite was mostly reproduced on a reduced scale, a tradition that had begun decades earlier with Giovanni Francesco Susini's bronze version of it from 1639 (Metropolitan Museum, New York). A small marble was made for Petworth House, without the male genitalia, which underlines how the iconography could be transformed into that of a nymph. Gott himself exhibited a marble Sleeping Nymph at the 1826 RA exhibition, which is untraced and may be connected to the present terracotta.

An ancient Roman Bronze Amulet in the form of a phallus.  Fertility Amulet. Worn by the ancients to protect against infertility and low potency.  Also worn to protect a soldiers manhood when in battle. Set within a Frame

AN ANCIENT ROMAN VASE ALONG WITH AN ANCIENT BOWL AND A MUSEUM REPLICA VASE (3)Largest 26cm D

A FRENCH BOULLE NINETEENTH-CENTURY MANTEL CLOCK fitted in an elaborate brass inlaid case with a cast dial with blue Roman numeral enamel hour marks, timepiece marked Bourquin a Paris, a brass cockerel-shaped finial, decorated with rococo, bell chiming, an inlaid interior case with ancient Greek nymph design inlaid to the door, height 47cm x width 22cm x depth 12cm, (2) (Condition Report: loose rear left foot, visible signs of restoration to include modern screws on the side fretwork, damage to the number twelve hour mark, two rear rosettes missing, finial loose and partial loss of boulle decoration, winds and has key)

HERALDRY, Etc: Debrett: 1- The peerage of the United Kingdom of Great Britain & Ireland, In 2 vols. 1826, Frontis & plates; Cont. full calf, VG; 2- The Baronetage of England, in 2 vols. 1824. With plates. Cont. full calf, VG; Lodge, Edmund: Portraits of Illustrious Personages of Great Britain, 12 Vols. Bound in 6. Harding, 1835. 4to. Cont. full leather gilt, aeg; The National Gallery of pictures by the great masters. Jones, nd, c1836. Numerous engraved plates. 4to. Cont. half leather; one cover detached; Trimmer, Mrs: A New Series Of Prints Accompanied By Easy Lessons: 1- Scripture of old testament, 1808 (2 copies); 2- Roman History, 2 editions, 1803 & 1804; 3- New Testament, 1805 (2 copies); Ancient history, 1803 (2 copies). A collection of engraved plates in each volume. Cont full calf some covers detached; The Magazine of Art, Volumes 1 & 2. Cassell, nd, (1878-78). Cont. half leather; Cattermole: book of the cartoons. 1837. Covers detached. (22)

Plinius Secundus. C. Plinii Secundi Historiae mundi libri XXVII ex Postrema ad vetustos codices collatione cum annotationibus (de Sigismundi Gelenii) et indice. Mit 4 wiederholten Holzschnitt-Druckermarken und zahlreichen figürlichen, teils größeren Metallschnitt-Initialen von H. Holbein d. J. Basel, H. Froben u. N. Episcopius, 1539. 18 Bll., 671 S., 114 Bll. (Index). Folio. Zeitgen. blindgepr. Schweinsleder über abgefasten Holzdeckeln mit 2 Messingschließen (etwas fleckig und berieben, teils wurmstichig, Rücken mit Rückständen eines ehem. Etiketts). VD 16, P 3540. - Adams P 1566. - Spätere Ausgabe von Froben mit Kommentar von S. Ghelen. Der Index von J. Camers mit eigenem Titelblatt. Titel mit altem Besitzvermerk "Joannis Carpentarij" in Tinte, verso mit Holzschnitt-Exlibris von Johann Georg Wagner. Der Schweizer Dramatiker Johannes Carpentarius (1522-1590, d.i. Hanns Wagner) aus Bremgarten im Aargau wurde um 1543 zum Lateinschulmeister in Solothurn ernannt und war ab 1581 Mitglied des Grossen Rates der Stadt Solothurn. - "Natural history was an ancient form of scientific knowledge, most closely associated with the writings of the Roman encyclopedist Pliny the Elder (ca. 22-78). His loquacious and witty Historia naturalis offered an expansive definition of this subject. Pliny's natural history broadly described all entities found in nature, or derived from nature, that could be seen in the Roman world and read about in its books; art, artifacts, and peoples as well as animals, plants, and minerals were included in his project. He compiled twenty thousand of these singular pieces of information in his work, through personal observation, the reports of others, and the writings of one hundred authors. Pliny did not see himself as the creator of an entirely new enterprise. Rather, he compiled a comprehensive and well-organized guide to the overwhelming amount of information about the natural world that was already available in antiquity." (P. Findlen, "Natural History", in: The Cambridge History of Science: Vol. 3, 2003) - Leicht gebräunt. In den weißen Rändern etwas wurmstichig, Index stärker betroffen, vereinzelt mit geringfügigem Buchstabenverlust. Sehr vereinzelt mit Marginalien in Tinte von alter Hand. Schönes, breitrandiges Exemplar. With 4 repeated woodcut printer's marks and numerous figural, partly larger metalcut initials by H. Holbein the Younger. Contemporary blindstamped pigskin over wooden boards with 2 brass clasps (somewhat stained and rubbed, partly wormholes, spine with residues of a former label). - Later edition by Froben with commentary by S. Ghelen. The index by J. Camers with its own title page. Title with old ownership note "Joannis Carpentarij" in ink, woodcut bookplate by Johann Georg Wagner on verso. The Swiss playwright Johannes Carpentarius (1522-1590, d.i. Hanns Wagner) from Bremgarten in Aargau was appointed Latin schoolmaster in Solothurn around 1543 and was a member of the Great Council of the city of Solothurn from 1581. - Slightly browned. Somewhat worm-eaten in the white margins, index more heavily affected, sporadically with minor loss of letters. Very occasional marginalia in ink by old hand. Nice copy with wide margins.

Antonio Labacco. Libro d'Antonio Labacco appartenente a l'architettura nel qual si figurano alcune notabili antiquita di Roma. Mit gestochenem Titel und 27 Kupfertafeln, davon 4 doppelblattgroß. Venedig, Porro 1576. Titelbl., 1 w. Bl., 1 Bl. Vorrede, Tafeln, 1 Bl. Text. Folio. Späterer Pp. mit Kleisterpapierbezug (gebräunt, berieben und bestoßen, Rücken unfachmännisch mit Tesa überklebt). Dritte außerhalb Roms gedruckte Ausgabe. - EDIT16 CNCE 35550. Adams L2. Univ. Cat. Books on Art II, 1062. Brunet III, 705. Graesse IV, 55f. Katalog Ornamentstichslg. Berlin 1840. - Seltenes Exemplar mit beiden Textblättern: "Antonio Labacco alli lettori" und "Delli Porti di Claudio, & Traiano". - Prachtvoll illustriertes Tafelwerk zur römischen Architektur der Antike. Die Erstausgabe erschien 1552, die letzte 1773. Kupfer teils in spiegelverkehrten Nachstichen nach der Erstausgabe. Labacco (geb. um 1495) war u.a. ab 1526 an der Ausführung von Befestigungsbauten in Parma und Piacenca beteiligt und wurde bekannt als Verfasser des "Libro appartenente all'architettura", einer Sammlung von ihm gezeichneter Restitutionen antik-römischer Bauten. - Die Kupfer irrig nummeriert 3-33 (doppelblattgroße Tafeln mit doppelter Nummerierung). In unseren Exemplar Tafel 33 nicht als Falttafel an doppelblattgroße Tafel 31+32 montiert. - Die beiden Textblätter wasserrandig, das letzte am Innensteg eingehängt. Buchblock angebrochen. Papierbedingt gebräunt und teils braun- und fingerfleckig. Die Tafeln überaus gratig und mit sehr schönem Plattenton. Gutes Exemplar mit den seltenen beiden Textblättern. Architecture - With engraved title and 27 copper plates, 4 of which doublepaged. Title page, 1 white fol., 1 fol. preface, plates, 1 fol. text. Folio. Later hardcover (browned, rubbed and bumped, spine unprofessionally pasted over with tape). - Third edition printed outside Rome. - Rare copy with both text leaves: 'Antonio Labacco alli lettori' and 'Delli Porti di Claudio, & Traiano'. - Splendidly illustrated plate work on Roman architecture of antiquity. The first edition was published in 1552, the last in 1773. Plates partly in mirror-inverted engravings after the first edition. Labacco (born around 1495) was involved in the construction of fortifications in Parma and Piacenca from 1526 and became known as the author of the 'Libro appartenente all'architettura', a collection of restitutions of ancient Roman buildings drawn by him. - The plates erroneously numbered 3-33 (double-page plates with double numbering). In our copy plate 33 not mounted as folding plate to double-page plates 31+32. - The two text leaves with waterstains, the last one hinged at the inner margin. Book block broken. Paper browned and partly with brown and fingerstains. The plates exceedingly burnished and with very fine plate tone. A good copy with the rare two text leaves.

A VERY FINE 19TH CENTURY GRAND TOUR OR POSSIBLY ANCIENT ROMAN STYLE BRONZE FIGURE OF A LADY, mounted to a marble base, 16.5cm high.

Antiquities - a small Roman glass cosmetic jar and a Roman glass stirring rod, a collection of ancient pottery shards - Roman and earlier with some flint tools, together with a Pre-Columbian pottery vessel in the form of a human figure and a jaguar

Dionysos, sogenannter "Narziss von Pompeji"Bronze geschwärzt, Bronze-Plinthe. H gesamt 62 cm. 9,4 kg. Nach der antiken Standfigur aus Pompeji gestalteter nackter Weingott (römisch Bacchus) mit Nebris über der Schulter. Das Original befindet sich heute im Archäologischen Nationalmuseum Neapel. Kleinere Gussfehler. Aufrufzeit 24. | Okt. 2024 | voraussichtlich 15:24 Uhr (CET) Dionysus, so-called "Narcissus of Pompeii"Bronze blackened, bronze plinth. H 62 cm in total. 9.4 kg. Nude god of wine (Roman Bacchus) with Nebris over his shoulder, modeled after the ancient standing figure from Pompeii. The original is now in the National Archaeological Museum of Naples. Minor casting defects. Aufrufzeit 24. | Oct. 2024 | probably 15:24 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Ancient Rome. Silver of the Caesars Collection Silver Denarii of the twelve Roman Emporerscomprising Denarri for Domitian, Vespasian, Trajan, Hadrian, Antoninus Pius, Faustina Senior, Lucilla, Septimius Severus, Geta, Caracalla, Plautilla, Julia Domna, Elagabalus, Julia Mamea, Severus Alexander, Maximinus I, Gordian III, Philip I, Otacilla Sevra, Tajan Decius, Herennia Etruscilla, Pribus and Diocletian, in a fitted case Condition: Good/commensurate with age Images to follow 15/10

Ancient Roman silver double Denarius. UK P&P Group 0 (£6+VAT for the first lot and £1+VAT for subsequent lots)

Four Roman / Ancient Greek coins; a small collection of pre-1920 silver content coins, to include crowns, half-crowns, florins, shillings, sixpences, threepences; and a medallion commemorating the death of George IV in 1830; total weight of silver content coins - 175.2g.Qty: 1 boxCondition report:Please see additional uploaded images of the front and back of all items in this lot.

A Large Group of Small-Scale Wargaming Figures. Comprising 15mm lead figures of Roman Legionaires & Ancient Britons. Almost all are unpainted and by Hinchliffe Models or similar makers. Conditions generally appear Excellent overall. See Photo. 

A collection of mainly ancient Roman coins, to include a bronze follis

* Roman School. A Roman stone head of Athena, circa 2nd century AD, finely carved stone, with wavy hair to each side of her head, wearing a helmet of Corinthian type, some losses to rear and upper side of the helmet, 11 cm high, mounted on an attractive later red marble base, overall height 16.5 cmQTY: (1)NOTE:Provenance: Private collection, Berkshire.The ancient Greek goddess of wisdom, warfare and handicraft, Pallas Athena was usually depicted wearing a helmet and holding a spear; she was later assimilated with the Roman goddess Minerva. This depiction of her is derived from the Athena of Velletri type (a full-size 1st century AD marble version of which is in the Louvre, Paris).