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Click here to subscribeA late 19th century French gilt metal mantle clock, the case of architectural form, mounted with cherubs, inset with Sevres style porcelain plaques, two Corinthian columns flanking the 3.5" painted dial, the AD Mougin 8 day movement having countwheel striking on a single bell, 52cm high x 31cm wideIf there is no condition report shown, please request
A late 19th century French marble and gilt metal clock garniture, the clock or architectural form with four turned Corinthian columns, applied gilt floral swags, the 3.5" dial having Arabic numerals with pierced fancy gilt hands, the 8 day movement having countwheel striking on a single bell, 42cm high x 26.5cm wide, the matching garnitures each having two candle sconces with stepped bases and raised on gilt feet, 26cm high x 18cm wideIf there is no condition report shown, please request
Anna Gordon. A pair of 18ct gold earrings and a silver brooch, attributed to Anna Gordon, the earrings hallmarked Edinburgh 1998, Edinburgh Assay Office mark; the silver brooch of square form, unmarked, width 7.0cm, in Anna Gordon box (2) Anna Gordon has worked as a prominent contemporary jeweller and goldsmith since studying at Edinburgh College Art between 1989-1994, where she learnt under the preeminent Scottish jeweller Dorothy Hogg. Her career has seen her work exhibited consistently since 1993, and she has held the position of department head of Jewellery and Silversmithing at Glasgow School of Arts since 2008. Her work is held permanently in notable collections including the Victoria and Albert Museum, the Royal Museum of Scotland, the Goldsmith's Company collection, and the Crafts Council Collection, and in 2020 she won the Goldsmiths’ Craftsmanship and Design Award: Gold and Silver Wyre Drawers Gold Award. Her jewellery is self-proclaimed to be influenced by her surroundings, blending natural and architectural cues to produce geometric shapes fashioned by hand. Most recently she has been exploring textiles, particularly Japanese silks and origami papers. Her oeuvre boasts a palette of precious metals, alongside natural materials, gemstones and enamel.Condition Report: Vendor states that the brooch is an early piece, from Gordon's degree show from Edinburgh College of Art.
Antonio Pineda (1919-2009). A Mexican Modernist silver bangle, of tapering torque design with concave stripe and bead decoration, marked sterling Mexico, silver 970, maker's mark, width 1.4-2.9cmProvenance: a private London collectionAntonio Pineda, born in 1919 in Taxco, is considered a Mexican national treasure for his role as a preeminent proponent in the establishment of the Mexican Modernist Aesthetic.Studying painting and sculpture at the Open Air School of Taxco, he was made an apprentice to silversmith William Spratling at the age of 14. In 1941, aged 22, he opened a workshop and became part of the group of talented Mexican designers who developed the distinctive ‘Taxco School’.Pineda achieved international recognition in 1944, when he was part of an international exposition in San Francisco held at the California Palace of the Legion of Honor. His collection of around 80 pieces was bought entirely by Richard Gump, the heir to Gump’s, a renowned retail establishment. Their commercial relationship lasted over a decade, and established the Mexican silversmith in the North American mainstream. His bold designs and inventive use of gemstones were an incontrovertible commercial success, with his two workshops employing over 160 craftspeople at the height of his career in 1951.His jewellery takes a notable influence from the work of Mexico City painter/silversmith Valentin Viduaretta. Following an apprenticeship with the artist in 1939, Vinduaretta’s design ethos coalesced with Pineda’s own style of bold and spare pieces. His work is almost architectural in design, with hollow constructions and innovative joinings, catches and closures. His work can be considered the most technically evocative of the Taxco designers operating between the 40s and 70s, with the system of joinings allowing his thick jewellery designs to elegantly and perfectly fit the human form.He died in 2009, one year after the Fowler Museum’s exhibition Silver Seduction: The Art of Mexican Modernist Antonio Pineda (August 24 2008 - March 15 2009) which brought together over 200 of his pieces to celebrate his illustrious career and contributions to creating a Mexican artistic national identity.
An early 20th century oak cased bracket clock with architectural oak case, the square dial with round chapter ring set with Roman numerals, outer minute track and two subsidiary dials to the top, with French chiming movement and two key wind holes, height 41cm, length of base 29cm, with key.Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/
A pair of Gothic revival walnut jardinieresOf cuboid form, carved with arched architectural mouldings.54cm sq. x 71.5cm high (2)Condition:Generally sound with no evidence of worm. Interior bases are removable and appear later. One has chips to a few of the arch apexes and some shrinkage splits to the feet. The other has splits to two of the side panels.
A grey schist-carved architectural fragment of a Boddhisatva beneath a tree, Gandhara, circa 2-3rd century A.D., 17 x 8cm; together with a Gandharan small stucco mask of a man with a gentle gaze, possibly Buddha, raised on a perspex stand, 8cm high (2)Provenance:The collection of Roger Moss MBE
A Thwaites and Reed rolling ball clock, circa 1972, No.24/100, in the manner of William Congreve, the architectural lacquered brass case with four supporting columns and three silvered dials to the triangular pediment, the ball platform below, upon a mahogany base and brass feet, named and numbered to a rectangular plate, within a perspex case 47 x 48cm including case Not tested as to correct working order; appears to wind up but ballbearing may not be heavy enough to run the mechanism properly; or the clock may just need an overhaul. Property of a deceased collector.
Directory of British architects 1834-1914 Volume 1: A - K & Volume 2: L- Z. - Antonia Brodie... [et al.]; foreword by Mark Girouard, published by British Architectural Library, Royal Institute of British Architects. Continuum 2001.London. New York. First UK Edition, First Print. Two volumes complete, in original blue cloth titles to front board and spine. A biographical directory of some 11,000 British architects who worked between 1834 and 1914. It extends coverage by 14 years and includes 4000 more entries than the 1993 edition including those who worked in Britain at that time but may not have been RIBA members.
A set of seven large 19th century French architectural framed drawings by Jack Monod Pencil pastel and ink wash on paper Signed 61cm x 46cm, frames 85cm x 72cm (7) Jack Monod during a period from 1902-1909 was at the workshop of Godefroy and Freynet in Paris. While not as famous as the renowned Ecole Nationale Superieure des Beaux-Arts in Paris, the workshop of Godefroy and Freynet was very popular and highly regarded in its own right. Often students at the ENSBA would self-study further at Godefroy and Freynet. The workshop was located on Rue de Dragon on the left bank in Paris, only a few streets from the ENSBA.
MODIGLIANI AMEDEO: (1884-1920) Italian painter and sculptor. A fine original graphite drawing signed by Modigliani, one page, oblong folio (approximately 42.5 x 26.5 cm), n.p. (Paris), n.d (c.1913). The attractive drawing is executed on a page which appears to have been neatly removed from a sktechbook and depicts a human figure, either a woman or child, sleeping peacefully and with their head turned towards the observer. Signed (´Modigliani´) by the artist in pencil to the lower right corner and inscribed in his hand to the verso, ´A Madame Hastings´. A rare original signed drawing with an excellent association. Glazed to both sides. VGThe present drawing is an enchanting example of one of Modigliani´s sketches from his Cariatide series and illustrates the complex working process that lay behind each of the artist’s three-dimensional projects in stone. Creating countless drawings and sketches before ever taking his hammer to a block, studies such as the present example offered Modigliani a forum in which to experiment and visualise his ideas before translating them into sculptural form. In its fusion of these two strands, sculpture and drawing, the Cariatide series represents an intriguing crossover work, straddling the intersection between Modigliani’s two principal creative impulses. From 1910 to 1913, he dedicated himself to sculpture, of which only twenty-five examples have survived. With the high cost of limestone, the material was precious and thus drawing became integral to his process, with the walls of his studio punctuated with the architectural studies of heads. Modigliani’s unreliable income also required him to move frequently from one studio to another and each time the drawings would be rehung. As a draughtsman, Modigliani focused on a narrow range of themes including idol-like heads and his intense preoccupation with sculptural form was the dominant force in his work. He became obsessed with the caryatid both as a sensual figure and as a functional architectural element. During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost—destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.Provenance: The present drawing was gifted by the artist to his lover Beatrice Hastings (1879-1943) English writer, literary critic, poet and theosophist. The two shared an apartment in Montparnasse and Hastings modelled for fourteen of Modigliani´s paintings including Seated Nude (1916). Hastings was also the friend and lover of both Katherine Mansfield and Wyndham Lewis. The drawing was later sold as part of the Collection of Monsieur F. (auction at Hotel Drouot, 22nd November 1922, lot 14) and subsequently formed part of the Collection of Monsieur Coste.
LE CORBUSIER: (1887-1965) Charles-Edouard Jeanneret. Swiss-French architect, designer and urban planner, a pioneer of modern architecture. An exceptional typescript MS, Le Corbusier, ten pages (separate leaves, typed to the rectos only), 4to, Paris, 1st March 1938 (although the place and date struck through in ink by Le Corbusier), in French. The working manuscript, with many holograph corrections, is titled Un Homme Chez Lui ('A Man at Home') and states, in part, 'C'est ici que la notion de liberte prend toute sa force. Au sein de cette organisation saine de la vie des hommes reunis en societe: "La Ville Radieuse", commandee par une discipline acceptee avec joie, la cellule d'habitation s'ouvre derriere une porte de logis. Et ici, la clef tournee, un homme est chez lui. Il est entre. Que fera-t-il? Ce qu'il voudra! Ce qu'il pourra.......Et il sera maitre de son destin, un un sens limite, bien entendu: celui de la libre expression de son imagination. Et nous trouverons alors, au pied du mur, ce terrible "Francais individualiste" dont les mechantes langues et les decides-a-rien-faire levent les fantomes innombrables a chacune de nos propisitions. J'avais mis en exergue a mon rapport sur l'urbanisation de la Ville de Moscou, en 1930, ceci: Je place comme pierre angulaire de toute urbanisation moderne le respect sacrede la liberte individuelle. On m'en avait voulu. Mais qu'importe!.......Cette gageure qui fut proposee dans "Urbanisme" en 1924 elle a ete meme: "La Ville Radieuse". Il existe desormais une doctrine d'equipement des villes dont la clef de voute est: soleil, espace, verdure, en chaque logis. En chaque logis! Voici donc ce que la societe moderne peut apporter a chacun de ses membres, par l'enterprise des grands travaux de readaptation des villes aux besoins d'une conscience nouvelle.......Une telle transformation dans la coupe du logis est une veritable revolution architecturale. Le logis devient une petite maison. Et que m'importe que ces petites maisons soient a dix, rangees les unes au-dessus des autres et qu'elles s'alignent innombrablement au long d'une "rue interienne": l'homme est entre chez lui, il a ferme la porte. Il a recu le choc de set amenagement architectural: grand et puis intime, et tout ce soleil, cet espace et ces verdures que cette reforme a precisement permis de capter. Je dis que cet homme desormais n'est plus jamais le chien battu qui hante les "boites locatives" de nos villes......cet homme chez lui a perdu le souvenir des lourdes tribulations que lui et sa famille ont vecu depuis toujours. Riche ou miserable, c'etait l'absence pour tous des "joies essentielles". Les "joies essentielles" sont apportees a la societe moderne par les techniques modernes, l'invitation urbanistique et la poesie de l'architecture. Ceci n'est pas d'utopie. Depuis 20 ans, des travaux limites ont ete accomplis, fixant les etapes constructives. Chez nous et ailleurs, par nous et par d'autres. Il existe deja des fragments - des jalons, des preuves - de "Ville Radieuse"......' (Translation: 'This is where the notion of freedom comes into its own. Within this healthy organisation of the life of men gathered in society: "La Ville Radieuse" (The Radiant City), governed by a discipline accepted with joy, the living cell opens behind a door of dwelling. And here, with the key turned, a man is at home. He has entered. What will he do? Whatever he wants! Whatever he can.......And he will be master of his destiny, in a limited sense, of course: that of the free expression of his imagination. And then we'll have that terrible 'individualistic Frenchman' at our heels, whose nasty tongues and decide to do nothing raise countless ghosts at every one of our proprieties. In my report on the urbanisation of the City of Moscow in 1930, I wrote the following: I place as the cornerstone of all modern urban development the sacred respect for individual freedom. People were angry with me. But never mind!.......This challenge, which was proposed in "Urbanisme" in 1924, was even called "La Ville Radieuse". There is now a doctrine for equipping towns and cities, the key to which is sun, space and greenery in every home. In every home! Here, then, is what modern society can bring to each and every one of its members, by undertaking the great work of readapting cities to the needs of a new consciousness......Such a transformation in the cross-section of the dwelling is a real architectural revolution. The dwelling becomes a small house. And it doesn't matter to me that there are ten of these little houses, arranged one above the other and lined up innumerably along an "internal street": the man has entered his home, he has closed the door. He received the shock of the architectural layout: large and then intimate, and all the sun, space and greenery that this reform made it possible to capture. I'm saying that this man will never again be the beaten dog that haunts the 'rental boxes' of our cities.......this man at home has lost all memory of the heavy tribulations that he and his family have always endured. Rich or miserable, it was the absence for all of the "essential joys". These "essential joys" are brought to modern society by modern technology, inviting urban planning and poetic architecture. This is not utopia. Over the last 20 years, a great deal of work has been done to define the constructive stages. Here and elsewhere, by us and by others. There are already fragments - milestones, proof - of the "La Ville Radieuse"......'). A rare manuscript of excellent content. A few minor tears and light creasing to the edges of some pages and the final page with a small area of paper loss to the lower left corner. GVille Radieuse (The Radiant City) was an unrealised urban design project designed by Le Corbusier in 1930. It constitutes one of the most influential and controversial urban design doctrines of European modernism.Le Corbusier's essay Un homme chez lui was published in Les Plans de Paris 1956-1922 in 1956.
HITLER ADOLF: (1889-1945) Fuhrer of the Third Reich 1933-45. A rare A.L.S., A Hitler, one page, oblong 8vo, Munich, 19th November 1935, to [Gerdy Troost] (´Dear and revered gracious Madam´), on Hitler´s personal printed stationery featuring the emblem of the Nazi Eagle and Swastika, in German. The Fuhrer writes, in full, (translated) ´Please accept with these flowers also my most heartfelt wishes for your recovery in your convalescence. Your most devoted.....´. Autograph letters of Hitler are rare and desirable and the present example has an excellent association linking the Fuhrer, who had a lifelong passion for architecture, with one of his earliest master builders, the architect Paul Troost. A series of heavy vertical creases run across the entire page, although only very slightly affect the text and signature, and with one small tear to the right edge. About GGerdy Troost (1904-2003) German architect, interior designer and interior decorator, the wife of Paul Troost. Gerdy Troost remained an architectural and design adviser to Hitler and his circle up to the end of World War II.Paul Troost (1878-1934) German architect. Troost and Hitler first met in 1929 and the master builder would soon become Hitler's foremost architect. For a time Troost´s neo-classical style became the official architecture of the Third Reich. Hitler´s enthusiasm for Troost´s work never waned and his relationship to the architect was that of a pupil to an admired teacher.
VENTURI ROBERT: (1925-2018) American architect. Signed 7 x 5 photograph of Venturi standing in a half-length pose with a model of one of his architectural projects, a new hall for the Philadelphia Orchestra, in the immediate background. Signed by the architect in black ink with his name alone to the image. EX
A GEORGE I GILT GESSO MIRROR IN THE MANNER OF JOHN BELCHIER, CIRCA 1720 123cm high, 56.5cm wideSee Christopher Gilbert, Marked London Furniture 1700-1840, Furniture History Society, p17, 'John Belchier , ... is first recorded at The Sun, St Paul's Yard in 1717: until his death in 1753. His most significant documented commission was at Erddig, where luxurious carved and gilt gesso tables, pier glasses and sconces supplied between 1722 and 1726 remain in situ. Condition Report: Marks, knocks, scratches and abrasions, commensurate with age and use.Some old chips, splits and repairs are present as well and general wear and loss to gilding. The mirror plates show significant age and expected depletion in the form of grey coloured patches, and fragmentary loses to silvering throughout. Suggesting that it is possibly original or a very old replacement. The loses, dark staining, and splitting on the rear panel lends to the suggestion that the panel is original.Craquelure throughout surface of the frame and some sympathetic refreshing of guiding is likely. Overall a visually impressive mirror with pleasing architectural decorative features. Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
Two sets of three architectural prints. The Victorian polychrome prints, one set comprising 'Portman Square, North Side', 'Portman Place' and 'North Side of Grosvenor Square', 13cm x 20cm. The other comprising 'Part of the Ruins of the Savoy in 1816', 'Bullock's Museum, 22 Piccadilly' and 'Whitehall Yard', Max. 13cm x 21.5cm, framed and glazed
Books. Two shelves of architectural history and theory, 20th c, including Drexler's Architecture of the Ecole des Beux-Arts, hb; an uncollated copy of the 1849 The Architect annual, folio; John Soane, Renaissance architecture, Hanson's Architects and the "Building World" from Cahmbers to Ruskin, Robert Adam, some works by James Lees-Milne, Thames & Hudson publications, Hussey's English Gardens and Landscapes, 1700-1750, country houses, The Vatican, further Baroque-Modernist architecture books, etc
Books. Three shelves of art history reference and theory, with some ornament, design and architectural history and reference, 20th c and later, including British Artists 1880-1940, dj, hb, 4to, other Antique Collectors' Club editions, Royal Academy Byzantium catalogue, Eduardo Paolozzi, 2016, dj, hb; Australian art, painting in the Middle Ages, mixed format Thames & Hudson publications, some monographs and catalogues, country houses, sculpture, etc., mixed bindings and sizes
After David Loggan 'The Entertainment of his Most Excellent Majestie Charles II, in his Passage through the City of London to his Coronation'four architectural engravings, comprising:'The Temple of Concord near Wood Street, Cheapside';'The Triumphal Arch at the Royal Exchange';'Leadenhall Street';'The Garden of Plenty'45 x 27cm, framed (4)
A pair of terracotta table lamps, late 19th/ early 20th century, each of architectural form with moulded foliate detail, with a tapered card shade, 19cm wide 19cm deep 44cm high (2)Provenance: The property of a European collector.Condition Report85cm high in totalPAT Test - One passed, other failed.
A Coade stone bust of John Milton, first quarter of the 19th century, modelled full face with ecclesiastical vestments on an integral base stamped 'Coade & Sealy' to the front,44cm wide17cm deep57cm highProvenance: The dispersal of Beech Hill Park, Loughton, c.1950.Eleanor Coade's 'Artificial Stone Manufactory' was established at King's Arms Stairs, Lambeth, in 1769. Eleanor Coade was one of a handful of independent women in the eighteenth century who began their own businesses and managed them successfully. The business produced sculpture and decorative architectural ornament in a material - today referred to as 'Coade' stone - which could be cast in complex forms and which was highly resistant to damage from the elements.Condition ReportOver painted. Chips to extremities.Both bust and plinth are integral, and are made from stoneware.
A small collection of three early 20th century portrait group photographs by M. Dadabhoy . Mooltan. British colonial India Before partition in 1947 Photographer M. Dadabhoy Mayo Road Mooltan India. (Now in West Punjab) was a architectural and group portrait photographer. Image sizes. 26.5cm x 22cm 20.5cm x 26cm 21.5cm x 26.8cm In good condition. Wear commensurate with age. Some foxing to the mount. Slight foxing speck to one image.
ITEM: Oil lampMATERIAL: PotteryCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 24 mm x 76 mm x 89 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman oil lamps were essential everyday objects in ancient Roman society, used primarily for illumination but also serving as decorative and functional items. These lamps, typically made from clay, bronze, or terracotta, were fueled by oil, often olive oil, which was abundant in the Roman Empire. The lamps had a simple design, usually consisting of a shallow basin with a spout where a wick would be placed to burn the oil. Some lamps featured intricate designs, including depictions of gods, animals, mythological scenes, and geometric patterns, making them not only practical tools but also a form of artistic expression. Roman oil lamps were widely used in homes, public buildings, and outdoor spaces, offering a much-needed light source after sunset.The production of oil lamps was widespread, and their forms varied depending on the region and period. Early Roman lamps often featured a round or oval shape, but by the 1st century BCE, they began to take on more elaborate designs, including those shaped like animals, heads, and even miniature architectural forms. Lamps were frequently mass-produced in workshops, and many examples have been found in archaeological sites across the Roman Empire, from Britain to North Africa. Some lamps were designed with multiple spouts, allowing several wicks to burn at once, while others were simple and utilitarian. The widespread use and variety of these lamps suggest they were integral to daily Roman life, found in homes, tombs, temples, and even used for public ceremonies.In addition to their functional role, Roman oil lamps had symbolic and religious significance. Lamps were often placed in tombs as part of funerary rituals, symbolizing the continuation of life or guiding the deceased’s soul to the afterlife. They were also used in religious ceremonies and offerings to gods, particularly in the context of private worship or in the homes of wealthy Romans who could afford to have them as part of their domestic cult practices.
ITEM: Level with plumb bobMATERIAL: BronzeCULTURE: RomanPERIOD: 4th - 5th Century A.DDIMENSIONS: 120 mm x 92 mmCONDITION: Good conditionPROVENANCE: Ex European private collection, acquired before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman level, often used in conjunction with a plumb bob, was a tool essential to Roman engineering and construction, allowing builders to establish precise horizontal lines. This simple yet effective instrument typically consisted of a wooden or metal frame in the shape of an “A” or a right triangle, with a string and plumb bob suspended from the apex. By observing where the plumb line intersected with markings on the frame, Roman engineers could verify that their structures were level, an essential step for everything from roads and aqueducts to temples and public buildings. This tool’s straightforward design and functionality exemplify the Romans' ability to achieve architectural precision with basic technology.The use of the Roman level with a plumb bob was integral to the construction of Rome’s architectural masterpieces. This tool helped achieve the structural stability seen in roads, aqueducts, and multi-story buildings, where maintaining horizontal lines was critical for even weight distribution. The Roman level was particularly useful in large-scale civil engineering projects, such as the construction of aqueducts, which required precise gradients over long distances to ensure water flow. By using the level to maintain a consistent angle, engineers could create a slight slope that allowed water to flow across valleys and plains, providing urban centers with reliable water access. This simple tool thus played a role in sustaining the infrastructure that fueled the Roman Empire’s growth.
ITEM: Seal with Ptah, Anubis and vultureMATERIAL: StoneCULTURE: EgyptianPERIOD: Middle Kingdom, 2040 – 1782 B.CDIMENSIONS: 39 mm x 45 mm x 32 mmCONDITION: Good conditionPROVENANCE: Ex Museum Exhibiton of the Arbeitsgruppe für Biblische Archäologie, Germany (Deaccession)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. Lahun, Ptah, and Anubis are three significant figures from ancient Egyptian civilization, each with its unique role and importance.Lahun (or Senusret II's Pyramid at Lahun): Lahun is an archaeological site in Egypt known for its historical significance, most notably for Senusret II's pyramid complex built during the Middle Kingdom period. This pyramid served as the final resting place for the pharaoh and included a mortuary temple and a causeway. The site provides valuable insights into the architectural and funerary practices of the time, showcasing the Egyptians' mastery in constructing grand burial monuments.Ptah: Ptah is an important deity in Egyptian mythology, revered as the creator god of Memphis. He was associated with craftsmanship, creation, and the arts. Ptah was often depicted as a mummified figure holding a staff, symbolizing his creative powers. He was a significant patron deity for artisans and craftsmen in ancient Egypt and was believed to have played a vital role in shaping the world.Anubis: Anubis is one of the most recognizable figures in Egyptian mythology, often depicted as a jackal-headed god. He was the god of mummification and the afterlife, guiding souls to the realm of the dead. Anubis played a crucial role in the funeral rites and judgment of the deceased, overseeing the weighing of the heart against the feather of Ma'at to determine one's fate in the afterlife. His presence in Egyptian funerary practices highlights the cultural significance placed on proper burial and the belief in an afterlife.These three elements - the archaeological site of Lahun, the deity Ptah, and the god Anubis - offer a glimpse into the multifaceted nature of ancient Egyptian civilization, spanning both the earthly realm and the spiritual world.
Ludolfs Liberts, an outstanding Latvian painter and stage designer, masterfully conveys the atmosphere of Paris in his work The Seine Embankment in Paris. The canvas is executed in the impressionist style, where every stroke of the brush reflects the vivid sensation of light and air so characteristic of this movement. In the foreground are bridges crossing the calm waters of the Seine, their smooth arches creating an elegant rhythm, smoothly directing the viewer`s gaze into the depths of the composition. On the river, ships are visible, slowly floating past, their dark silhouettes contrasting with the soft, blurred outlines of the city panorama. In the distance, among the chaotic scattering of roofs, the dome of the Pantheon rises majestically, and in the left part of the composition, the characteristic towers of Notre Dame Cathedral can be discerned. These architectural dominants create a recognizable image of the capital of France, filling the canvas with poetic melancholy. The painting demonstrates the artist’s exceptional sense of color and composition, attention to detail and ability to convey the emotional state of the moment. Signed by the artist in the lower left corner, this work is a striking example of Lieberts’ creative legacy and is evidence of his deep penetration into the atmosphere of the city, which inspired many masters. Cardboard, oil. Dimensions: 49.5 × 59.5 cm Provenance: Private American collection Width: 75cm, Height: 70cm, Depth: 8cm, Weight: 2kg, Condition: Good, Material: Oil on cardboard, ID: ID-ANTQ-11588
An expressive and atmospheric work by an Italian ebony master of the second half of the 19th century, made in the style of the works of Ferdinando Pogliani (Milano, 1832 - Milano, 1899). A strict and expressive Italian cabinet-bureau of ebony with ivory inlay. Consonant with the architectural canons of classicism with an atik top, pilaster sidewalls and support columns. The characters and atmosphere of commedia dell`arte are organically woven into the decor program. The cabinet-bureau is decorated with motifs of Renaissance grotesques: climbing buds, sprouting vases, cute ladies` mascarons. The central panels of the paneled doors are decorated with gallant figures of a cavalier in a wide-brimmed hat with a heavy sword and a young maiden carrying a jug. The outer cover of the bureau is decorated with a carved ivory panel with a comedic sword dance scene. Against the backdrop of an Italian town, Pantalone dances next to a girl with a tambourine, and Isabella acts as a spectator. Behind the lid are four small drawers. The bureau lid and drawer are provided with keys. The handle of the drawer is a goat-horned devil`s head, made of fine bronze. Height: 165 cm, width 76 cm, depth 44 cm. Italy. Late 19th century. Professional restoration was carried out. Ivory Certificate: AGLT5BXP. CITES permit attached Width: 76cm, Height: 165cm, Depth: 44cm, Weight: 50kg, Condition: Earlier restoration, Material: Ivory, ID: ID-ANTQ-8596
Ludolfs Liberts, an outstanding Latvian artist and stage designer, masterfully conveys the unique atmosphere of Paris in his work Embankment of the Seine in Paris. Painted in an impressionist manner, the painting is filled with light and air, conveying a vivid sense of lightness and ephemerality. In the foreground is a bridge over the Seine, along the banks of which brightly lit barges rest. Their warm, rich tones create a contrast with the cool tones of the water and sky, attracting the viewer`s attention. The composition of the work is skillfully balanced. The movement of the carriages on the bridge adds dynamics, while the majestic silhouette of Notre Dame Cathedral and the slender spires of churches in the background lend the landscape poetic calm and eternity. These architectural landmarks serve as a reminder of the rich cultural heritage of the French capital, highlighting the characteristic silhouette of the city. The painting demonstrates the artist’s brilliant mastery of color palette and compositional techniques, attention to detail and the ability to convey the emotional state of a fleeting moment. Signed by the artist in the lower right corner, this work is a fine example of Lieberts’ creative legacy. It testifies to his ability to deeply penetrate the atmosphere of the city that has inspired artists for centuries. Cardboard, oil. Dimensions: 49.5 × 59.5 cm Provenance: Private American collection Width: 75cm, Height: 70cm, Depth: 8cm, Weight: 2kg, Condition: Signs of wear commensurate with age, Material: Oil on cardboard, ID: ID-ANTQ-11589
This impressive painting attributed to Felix Ziem (1821-1911) is an outstanding example of mastery and deep passion for architectural landscapes. The composition centers on the majestic Doge`s Palace, surrounded by architectural elements that are exquisitely decorative and in the typical Venetian style. In the foreground of the painting are the two iconic columns of the Piazzetta that lead to St. Mark`s Square. The eastern column is topped by a bronze statue of a winged lion, symbolizing St. Mark, the patron saint of the city. The western column is topped by a marble statue of St. Theodore, the founder of Venice. These architectural masterpieces highlight the cultural and historical wealth of Venice, being important elements of its unique urban landscape. The front of the painting attracts the viewer`s attention with a boat with seated passengers in bright clothes and a gondolier skillfully managing an oar, which emphasizes the liveliness and dynamism of the scene. The author, following the traditions of the Barbizon school, uses a bright palette and special attention to light, creating a contrast between the warm shades of the buildings and the deep blue sky. This technique not only conveys the architectural beauty, but also gives the painting expressiveness and atmosphere. This painting is one of a series of works created by the author after an inspiring trip to Venice, where every stroke and color conveys his admiration for this city. The painting demonstrates painting techniques that anticipate elements of impressionism, which makes it a valuable testimony to the artistic development of its time. The painting is enclosed in an exquisite gilded frame emphasizing the grandeur of this work. Dimensions of the painting: 55.5 cm x 38.5 cm. Canvas, oil. Width: 69cm, Height: 52cm, Depth: 10cm, Weight: 10kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11559
Carved oak fireplace with noble stained color and Renaissance architectural forms. With a bravura projection of the cornice, cozy carvings of corriatids and mascarons of the sidewalls and a central decorative element - a thyroid medallion surrounded by curls of plant shoots. France, turn of the 19th and 20th centuries. Dimensions: 166.5 x 209 x 68 cm. Width: 209cm, Height: 165.5cm, Depth: 68cm, Weight: 70kg, Condition: Exc., Usual restorations, Material: Oak, ID: ID-ANTQ-8638
A 19th Century French Gilt Metal Clock Garniture, the clock by A D Mougin, the 3.5ins diameter porcelain dial with Arabic numerals, and painted with roses, to the eight day two train movement striking on a gong, contained in case of architectural design, surmounted by two putti and flanking an urn, inset with painted porcelain panels, and with cherubs and Corinthian columns to front, on scroll feet, 21.5ins high, and a pair of conforming two-handled urns on square bases, 15.75ins highExternally the gilding has been overpainted in gold paint but this is historic rather than anything recent. There are areas of paint that are missing or have become worn away particularly on the two accompanying garniture pieces to the base and in general to the base of the clock as well. On the clock the dial has no glass but the enamel dial presents well with no obvious signs of cracks or chips. The hands appear to be original. The ceramic plaques attached to the clock appear to be free from any sign of damage or obvious sign of repair previously. The mechanism appears to be complete but we cannot warrant the originality of all components. The clock winds, runs and sets but should be regarded as untested. On the two garniture items, the ceramics appear to be in good condition showing no obvious signs of previous damage or repair, likewise the metal work appears to be free from damage apart from the crude overpainting. Prospective bidders are strongly advised to study all images closely prior to bidding.
Heraldry.- [Milles (Thomas)] The Catalogue of Honor, first edition, engraved architectural title [by Renold Elstracke], 9 engraved illustrations, of which two whole page, numerous woodcut coats-of-arms throughout, lacking initial blank A1 but with blank 2V8, 3 column errata at end, title trimmed to border and edges supplied in paper (including lower fore-edge corner with loss of artistic attribution), whole first gathering reinforced onto linen stubs, 3S4 with the usual portion excised but neatly supplied in manuscript facsimile (lettering mimicking typed letters), A3 & 3S5 small paper repair to lower corner, annotations and redactions in modern blue ink (?biro) scattered but more frequent to second half, a few other ink notes in earlier hand as well, occasional damp-stains and other soiling, contemporary calf with central gilt arms to covers, rebacked preserving original spine label, corners slightly worn, [STC 17926], folio, William Jaggard, 1610.*** The portion usually excised or 'mutilated' (as often described) from 3S4 bears reference to Charles Blount's illegitimate children.
Wesley (Samuel) The Life of our Blessed Lord & Saviour Jesus Christ, additional engraved architectural title, engraved frontispiece and 58 plates, letterpress title in red and black, B2 and around 10 plates with closed tears or repairs (affecting images but without loss), initial few ff. silked at edges, some light browning and occasional soiling or spotting, contemporary calf, rebacked, [Wing W1371], folio, for Charles Harper, 1693
Ariosto (Lodovico) Orlando Furioso in English Heroical Verse, two parts in 1, title within ornate engraved architectural border, 45 whole-page engraved illustrations only (of 46; the illustration here lacking blank on recto, thus no text lacking), typographical border to the argument for each chapter, woodcut initials, title margin browned and very slightly frayed, a few scattered ff. with closed tears (one to engraving, but no losses), sometimes trimmed close to or touching side notes (minimal loss), the odd spot, endpapers renewed, contemporary calf, rebacked, one corner repaired, [STC 748], folio, translated by Sir John Harington, by G. Miller for J. Parker, 1634.*** Third edition of Harington's 1591 translation. The engraved title includes portraits of Ariosto and Harrington, as well as a portrait of Harington's dog, Bungy, in the lower left corner.
Barclay (John) Argenis, or the Loves of Polyarchus & Argenis, first illustrated edition, translated by Kingsmill Long, engraved architectural title, numerous whole-page engraved illustrations (including a portrait of the author), woodcut head-pieces and initials, title slightly browned and frayed, tiny hole B4 & 2D8 (no text loss), 2Z4 closed tear affecting text but no loss, otherwise light browning and some minor soiling, remains of an old manuscript document to reinforce spine, lacking front endpaper and modern typed slip tipped-onto pastedown, contemporary calf, later paper label to spine, some repairs to joints, spine ends and joints otherwise cracked or worn, [STC 1392.5], 4to, for Henry Seile, 1636.*** The second, but first illustrated, edition; the text originally appeared two years earlier.
Bible, Latin.- Testamenti Veteris Biblia Sacra..., general title within ornate architectural border, New Testament and divisional part titles, text in double columns, ruled throughout in red (faded to brown), woodcut and typographic decorations, engraved portrait of Charles II laid-down to front endpaper verso, lacking final blank, [par]2-4 neat paper repairs to edges, 4L1 & 4N6 closed tear and paper repair (affecting text, no loss), [Kk]6 two defects with paper repairs and text loss, occasional minor soiling, near contemporary calf, gilt, rebacked retaining majority of original back-strip, repairs to corners, rubbed, [STC 2061.5], folio, R[alph] N[ewbery], G[eorge] B[ishop], and R[obert] B[arker], 1593-92*** Provenance: Robert Shedden Scrimgeour (1788-1863) [bookplates & labels]
Duns Scotus (Johannes) Questiones quolibetales ex quattuor Sententiarum, double column, title printed in red and woodcut portrait of the author within woodcut architectural border, woodcut decorative initials, woodcut printer’s device beneath colophon, final f. blank, occasional early ink marginalia or underlining, some spotting or light staining (including the odd instance of ink), lightly browned, early 20th century vellum over boards, dark green morocco label and later small paper label to spine, some soiling and marking, [Pavia], [Giacomo Pocatela], [colophon: Jacob de Burgofrancho], [1517]; and another 16th edition of the works of the same, 8vo (2) *** A rare edition at auction of this record of quodlibetal disputation at the beginning of the 14th century by the important Scottish philosopher and theologian John Duns Scotus.Provenance: Prince Roland Bonaparte (large engraved bookplate to front pastedown).Literature: EDIT 16 CNCE 17866.
Rev. Alfred Suckling: 'The History and Antiquities of the County of Suffolk: with Genealogical and Architectural Notices of Its Several Towns and Villages', London, John Weale, 1846-1848, 1st edition, large paper copy, 2 volumes, 43 lithograph plates (of which 5 chromo/coloured litho and many others tinted) + 1 engraved portrait plate, 1 engraved plan & 1 folding pedigree, + numerous other pedigrees, vignettes, seals etc as called for, imperial 4to (38 x 28cm), uniform handsome full calf gilt, armorial crests in gilt to top boards, top edges gilt, decorative blocked inner dentelles (2)
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