There are 12576 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeAMAZING SPIDER-MAN #121 (1973 - MARVEL) GRADED 8.5 by CGC - KEY Bronze Age Issue - 'Death' of Gwen Stacy + Green Goblin appearance - Gerry Conway Story - John Romita Sr. Cover and interior art by Gil Kane, John Romita Sr. & Tony Mortellaro - Flat/Unfolded - CGC 8.5 Off-White Pages - Presented Slabbed & Sealed
IRON MAN #55 - (1973 - MARVEL - UK Price Variant) KEY Bronze Age Book with multiple First Appearances - First appearances of Thanos (Avengers), Drax the Destroyer (Guardians of the Galaxy), Starfox (Eternals), Mentor, Kronos, Blood Brothers - Jim Starlin story, cover & interior art - Flat/Unfolded - a photographic condition report is available on request
WEREWOLF BY NIGHT #32 (1975 - MARVEL - UK Price Variant) - HOT Book - GRADED 7.0 (FN/VFN) by CGC - First appearance and origin of Moon Knight - Currently #10 on Overstreet's Top 25 Bronze Age Comics Value List - Gil Kane and Al Milgrom cover with Don Perlin interior art - Flat/Unfolded - CGC 7.0 (FN/VFN) White Pages - Presented Slabbed & Sealed
SUB-MARINER #57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69 + KING-SIZE SPECIAL #1 (14 in Lot) - (1972/1974 - MARVEL - UK Price Variant) - Includes the classic battle with Thor + the debut of the new costume + first appearance of Venus in the Bronze Age - Flat/Unfolded - a photographic condition report is available on request
IRON MAN #55 (1973 - MARVEL) - GRADED 4.0 (VG) by CGC - KEY Bronze Age Book with multiple First Appearances - First appearances of Thanos (Avengers), Drax the Destroyer (Guardians of the Galaxy), Starfox (Eternals), Mentor, Kronos, Blood Brothers - Jim Starlin story, cover & interior art - Flat/Unfolded - CGC 4.0 (VG) White Pages - Presented Slabbed & Sealed
TOMB OF DRACULA #10 - (1973 - MARVEL - UK Price Variant) - HOT KEY BOOK & CHARACTER - First appearance of Blade the Vampire Slayer, who is scheduled to return to the Marvel Cinematic Universe in the near future + Currently at #16 most valuable book on Overstreet's Top 25 Bronze Age Comics list - Gene Colan cover and interior art - Flat/Unfolded - a photographic condition report is available on request
BATMAN #227 (1973 - DC) - Classic Neal Adams cover, a homage to Detective Comics #31 + Robin backup story + currently the 18th most valuable book on Overstreet's Top 25 Bronze Age Comics list - Irv Novick, Dick Giordano, Mike Esposito interior art - Flat/Unfolded - a photographic condition report is available on request
BATMAN #251 (1973 - DC) - Classic Joker cover and a key Bronze Age Batman issue - Neal Adams cover and interior art - Trivia: the original cover art by Adams sold for $600,000 in 2019 - Flat/Unfolded - a photographic condition report is available on request - NB coupon missing, story not affected
Große yanyan-Vase. Bronze. 16./17. Jh.In linearem Relief auf der Wandung eine Passform, dünne Wülste am Hals und ein schmales Dekorband mit Drachen um den Hals, um den Fuß Noppenband. Vergoldete Henkel im Wolkenmuster.H 45 cmProvenienzGerard Hawthorn, LondonLiteraturAbgeb. in: Gerard Hawthorn, Oriental Works of Art, London 2006, Nr. 7Vgl. fast identische bzw. ähnliche Vasen, abgeb. in: Sidney L. Moss, The second bronze age, Later Chinese metalwork, London 1991, Kat.-Nr. 64-66
A Roman opaque red glass patella cup Early 1st Century A.D.The ring-footed bowl with rounded base and carinated profile, slightly flared at the rim, 9.4cm diam.Footnotes:Provenance:The Alfred Wolkenberg (d. 1990) Collection, New York. The Alfred Wolkenberg Collection of Ancient Glass, Christie's, London, 9 July 1991, lot 100. Anonymous sale; Christie's, London, 17 October 1996, lot 30. The Nico F. Bijnsdorp Collection (NFB 041), acquired from the above sale. Published: Antiek Glas 2001, video film Allard Pierson Museum of Antiquities, Amsterdam. Exhibited: Thermenmuseum, Heerlen, NL, 'Romeins Glas uit Particulier Bezit', 29 April – 28 August 2011, exhibition no.03.Allard Pierson Museum of Antiquities, Amsterdam, 'Antiek Glas, de Kunst van Het Vuur', 17 May - 16 September 2001, exhibition no.19.The shape of this cup was a popular early Roman Imperial form that was produced in both opaque coloured glass and mosaic glass. For a similar opaque glass bowl, cf. E.M. Stern, Early Glass of the Ancient World, 1600 B.C.-A.D. 50 1994, pp.328-9, no.99. See also David Frederick Grose, Early Ancient Glass. Core-formed, rod-formed and cast vessels and objects from the late bronze age to the early roman empire, 1600 B.C. to A.D.50 (Toledo Museum of Art, Toledo, Ohio 1989), no.419. Grose family III.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Bronze Age gold and rock crystal toggle pin Possibly Cyprus, circa 1400-1300 B.C.The spherical rock crystal fluted bead affixed to the pin and capped by a disc terminal, the body of the pin decorated in gold with fluted segments, tapering to a point, an attachment loop on one side, 10cm longFootnotes:Provenance:With Sumer Gallery of Ancient Art, New York.Acquired by the present owner from the above on the 5 June 1987.This elegant toggle pin was used to secure and adorn draped clothing. The fluted bead at the top of the pin is shaped to resemble a poppy head. An example from the Metropolitan Museum of Art in New York, acc.no.1989.281.14 rattles when shaken. See also an example solely in gold from the Cleveland Museum of Art, acc.no.1947.36. Further examples exist in the British Museum, London, specifically acc. nos.1897,0401.348 and 1897,0401.102 which have similar attachment loops.For further information on this lot please visit Bonhams.com
Two gold wire bracelets Possibly Late Bronze Age - Roman PeriodOf plain hoop form of tubular section, 5.5cm & 5.8cm diam, 2.8g & 2.9g (2)Footnotes:Provenance:Formerly in the collection of Lt. General Augustus Pitt Rivers, (1827-1900).Private collection, France.For further information on this lot please visit Bonhams.com
An Achaemenid rod-formed glass cylindrical kohl tube Circa 5th-4th Century B.C.Of dark amber to black glass, the upper half with opaque white spiral trail partly overlaid by translucent amber spiral trail to the lower body, the cylindrical body slightly narrowing towards the flattened rim, 7.1cm high Footnotes:Provenance: Anonymous sale; Christie's, London, 17 October 1996, lot 22A. The Nico F. Bijnsdorp Collection (NFB 037), acquired from the above sale.There is a similar rod-formed kohl tube with trail decoration in the Toledo Museum of Art, collection no.1980.42See Dan P. Barag, Rod-formed kohl-tubes of the mid-first millennium BC, Journal of Glass Studies 17, 1975, pp.23-36. Barag Group IIA, and D.F. Grose, Early Ancient Glass. Core-formed, rod-formed and cast vessels and objects from the late bronze age to the early roman empire, 1600 B.C. to A.D.50 (Hudson Hill Press, New York 1989), pp.86-7, no.33.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Schale, Mittelmeerraum, Alt-Zypern (?), Bronzezeit.Halbkugelige Form ohne Standfläche (mit rundem Boden), einseitig anmodellierter Henkel. Rot poliert mit schwarzen Brand-Verfärbungen. D. 14,5 cm. Provenienz: Sammlung Peer Hultberg (1935-2007), Hamburg. Ancient mediterranean ceramic bowl, red burnished. Maybe Cypres, Bronze age. Collection Peer Hultberg (1935-2007), Hamburg. D. 14,5 cm.
Schale, Mittelmeerraum/ Alt-Zypern (?), Bronzezeit.Halbkugelige Form ohne Standfläche, runder Boden, einseitig anmodellierter Henkel. Keramik/ Irdenware, rötlicher Scherben. D: 14 cm. Provenienz: Sammlung Peer Hultberg (1935-2007), Hamburg. Ancient mediterranean pottery bowl with handle, earthenware, maybe ancient Cypres, Bronze age. Collection Peer Hultberg (1935-2007), Hamburg. D. 14 cm
Milchschale, Mittelmeerraum, Alt-Zypern, Bronzezeit.Keramik, rote polierte Oberfläche. Halbkugelform ohne Standfläche/ runder Boden, Ausguss, kleiner anmodellierter Schlaufenhenkel. Große Scherbe restauriert. D. 19-24 cm. Provenienz: Sammlung Peer Hultberg (1935-2007), Hamburg. Milk bowl, ancient Cypres, Bronze age. Pottery burnished red, spout and handle. Restorated. Collection Peer Hultberg (1935-2007), Hamburg. D. 19 cm (24 cm incl. spout).
Margaret Lovell (b.1939)Filloma, 1967from an edition of 6polished bronze with lacquer32cm high.The condition appears good. Some surface wear from age. Not stamped but the sculptor helped catalogue the work and mentioned the base would of had a label with the edition details that will have fallen off.
TWELVE ASIAN AND MIDDLE EASTERN BRONZE ARROWHEADS, 800 B.C. TO 400 A.D.; ELEVEN FURTHER ARROWHEADS AND A QUANTITY OF BRONZE BLADES, 900 B.C. AND LATER, comprising an ancient Greek arrowhead, with leaf-shaped head formed with a medial ridge and short haft; another with triple-ridged head; another three, probably Persian, circa 800 B.C., with leaf-shaped heads and short hafts; nine further bronze arrowheads; seven ancient style arrow heads with barbed triple-ridged heads and log hafts; four further ancient arrowheads, with pierced triangular heads and long hafts; a detached blade from a middle eastern bronze shortsword, probably Levantine (Byblos), early bronze age, circa 2400-200 B.C, of tapering flattened-diamond section, pierced with four holes at the base; and thirteen various bronze blades and a bronze billet, (qty)¦¦Provenance¦Anthony Dove (1938-2021)
A Boy Scouts Association Gallantry Cross Second Class pair awarded to Patrol Leader J. Findlay, Winnipeg Troop, Manitoba, Boy Scout Association Boy Scouts Association Gallantry Cross, 2nd Class, 2nd issue, silver, the reverse impressed, ‘Scout Jack Findlay, age 15, 7th Winnipeg Troop, Manitoba, July 1929’, with integral top riband bar; Boy Scout Long Service Medal, bronze and silver, unnamed, nearly extremely fine (2) £400-£500 --- Jack Findlay, of St. James’s Rectory, Portage Avenue, Winnipeg, Canada was a Scout 2nd Class (later Patrol Leader) in the 7th Winnipeg Troop. Aged 15, he effected the rescue of a Mr Albert Withers who was in danger of drowning. Mr Withers writing of the incident in a letter dated 6 January 1930 (letter not included with lot) stated: ‘One day last summer one of your scouts (Jack Findlay) was spending the day at Winnipeg Beach with me. I was floating on a tube & did not notice that I had drifted so far from shore, suddenly the tube shot from under me & down I went. I cannot swim & should have been drowned had it not been for Jack’s help. He held me up till we got to shallow water. I take pleasure in recommending him for life saving badge. I would have written before but did not know Jack was a scout till lately. Should you need any more information I shall be glad to give same.’
A large British coin collection which is believed may include part of the Ockham Treasure Trove of 1979. It also includes a scrapbook assembled by the finder during the process of reporting the find and the court proceedings that determined its status. The scrapbook indicates a find of a quantity of milled silver and a few gold coins all of relatively recent age, and apparently as taken from circulation. The silver coins offered in this lot are generally notably clean with little toning. The collection includes five framed assemblages, the coins being attached to the backing material with simple blu-tack. The first frame holds 33 silver coins dating between 1816 and 1846 including 10 half crowns, 9 shillings, 12 sixpences and 2 fourpences. The second frame holds loose coins comprising a sovereign 1892 (Sydney), 2 half crowns, 2 florins, 9 sixpences and 3 threepences. The third holds a sovereign 1842, a half sovereign 1842, and silver dating between 1839 and 1852 comprising 3 half crowns, 1 florin, 2 shillings, 3 sixpences and 2 fourpences. The fourth frame contains a half sovereign 1828, a crown 1819, and 4 half crowns, 3 shillings and 3 sixpences all dating between 1816 and 1820. The fifth frame contains a half sovereign 1837, and five half crowns, 4 shillings and 6 sixpences dating from the 1820s-1830s. Also in this collection is a coin cabinet of four display trays containing mostly decimal and late pre-decimal British coins and a very little silver, a tin of 2.8 kg of corroded British bronze coins apparently discovered by metal detector, and an album containing a small quantity of foreign coins and a few pre-1947 British silver coins.
12 silver/bronze-age comics from the 'Amazing Spider Man' series c1966 - 1971. Most in G to VG condition as per CGC grading with creases, some loose covers, some tears. Please see images for an accurate guide to condition. To include issues: 44, 49, 50 (torn cover and pages). 51, 54, 74, 78, 81, 96 (Features an anti-drugs story that was not approved by the Comics Code Authority.), 97, 117,
A pair of Louis XVI-style gilt-bronze candlesticks, 19th century, each with a leaf and fluted nozzle, on a tapering fluted column and cast circular base with beaded rim,10.5cm wide16.5cm high (2)Condition ReportSome slight surface wear and oxidation commensurate with age. See additional photos for condition.
An Empire flame mahogany secrétaire à abattant,early 19th century, French, the marble top above a frieze drawer and fall front, enclosing a satin-birch-veneered fitted interior, two cupboard doors and a base drawer, raised on bun feet, with gilt-bronze mounts,98cm wide44cm deep154cm highCondition ReportThin splits to sides and facade, with some evidence of further repaired splits. General small losses and wear to veneer. Drawers, fall, doors and drawers all functioning well. Stains, marks, scuffs, scratches and wear to the leather, which is possibly the original covering. Some slight splits to veneer within. General knocks and wear commensurate with age, but overall appears in fairly good cosmetic and structural condition and is ready for use.
A pair of grand tour bronze urns by the workshop of Benedetto Boschetti, mid-19th century, Italian, each body decorated by trailing ivy and gadrooned detail, set between a pair of ram head handles, on a spreading circular base stamped 'B. BOSCHETTI ROMA', raised on a black and serpentine marble plinth,19cm wide15cm deep39cm high (2)The workshop of Benedetto Boschetti, active c.1820-1870 on the Via Condotti in Rome, was well known for the high quality of its works 'after the antique'. The workshop had a strong reputation and, in 1856, S Bonfigli noted that 'The establishment is particularly conspicuous for its great variety of marble works, bronzes etc' (A González-Palacios, 'The Art of Mosaics', 1982, p.166) and the works produced were highly sought after by the young and wealthy 'grand tourers' of the 19th century. Considered ‘the most eclectic virtuoso and certainly the most visionary of all the marmorari', Boschetti himself is recorded as having won a prize medal at the Great Exhibition in London in 1851, and a bronze 'Augustus Caesar' from his workshop was exhibited at the 1876 Centennial Exhibition in Philadelphia. Condition ReportOne has sustained a bit of damage in transit, resulting in the upper part of the marble plinth becoming detached, as well as the body of the urn having come unscrewed from its base, with the screw threaded - both of these issues could do with professional attention in order to rectify them. That said, both stand properly and no damage is visible when standing. Otherwise, both with general light knocks and surface wear. Some chips and knocks to corners and edges of marble plinths. Small crack to the damaged marble plinth. General wear commensurate with age and use.
MULBERRY; a vintage 2008 chestnut brown leather 'Elgin' handbag trimmed with tan NVT hide leather, two adjustable belts and a self pop closure with Mulberry tree embossed to front, two top handles and bronze tone hardware, no. 075210, 33 x 34 x 14cm.(af)Additional InformationThe bag is in fair condition with signs of use and age to the leather which is quite stiff. The shoulders straps are softened and the interior suede is ruffled. The bronze hardware is in good condition with a few scratches.
A pair of Japanese polished bronze vases, decorated with flowers and a bird, height 12.5cm, with a pair of Japanese coppered metal vases, with cast detailing (4) Additional InformationAll vases with general age wear patina, some knocks and scratches here and there throughout. The larger pair with a slightly more pronounced dent to each.
Paar feine Vasen aus Bronze in hohem Relief von Suzuki Chokichi (1848-1919)Japan, am Boden gemarkt kaku, Meiji-PeriodeH. je 52,5 cmGegossen und fein ausgearbeitet mit kunstvollen Schnabeltiergriffen mit hervorstehenden Zungen und auf mehrfach gegliederten, eingearbeiteten Ständern, die großen Paneele verziert mit Raubvögeln auf Kiefern- und Ahornbäumen, das Gefieder und die Oberfläche der Bäume naturalistisch wiedergegeben, die Augen in Gold und Shakudo und die Rückseite mit Schwalben und einem Fasan im Flug, die übrige Oberfläche verziert mit geometrischen Rautenmustern, Schlüsselbünden und Läppchen, auf der Unterseite signiert Kako chu.Bayerischer Privatbesitz, gekauft bei Bonhams New York, 14.9.2016, Lot 221Als einer der berühmtesten monumentalen Bronzegießer der Meiji-Ära scheint Suzuki Chokichi ab etwa 1900 in einem weniger monumentalen Maßstab und in einer raffinierteren Weise gearbeitet zu haben, wie hier. Siehe Joe Earle, Suzuku Chokichi: Master of Metal Raptors, in Victoria Weston (Hrsg.), Eaglemania: Collecting Japanese Art in Gilded Age America, Ausstellungskatalog, Boston, McMullen Museum of Art, Boston College, 2019, S.28Minim. berieben, Altersspuren
WIENER BRONZE 'Kohlmeisen', Anfang 20. Jh. Bronze mit polychromer Kaltbemalung, 2 Kohlmeisen auf einem Palmkätzchenzweig sitzend, unterseitig mit Vasenmarke (Franz Xaver Bergmann), H. ca. 3,5 cm, L. ca. 15. Farbe partiell berieben, Altersspuren.| VIENNA BRONZE 'Great Tits', early 20th c. Bronze with polychrome cold painting, 2 great tits sitting on a palm catkin branch, underside with vase mark (Franz Xaver Bergmann), h. approx. 3.5 cm, l. approx. 15. Paint partially rubbed, signs of age.
A PAIR OF MONUMENTAL BRONZE NIO GUARDIANS, DATED 1783 BY INSCRIPTIONJapan, dated 1783Each standing atop a naturalistically cast rockwork base raised on a finely carved lacquered wood stand supported on four stout cabriole legs. The open-mouthed Misshaku Kongo holds a vajra in his raised left hand, his other hand lowered with the fingers stretched out, while the close-mouthed Naraen Kongo thrusts his right hand forward with the palm facing forward, in a protective gesture akin to the abhaya mudra, while his left hand is clenched into a fist. Both guardians wearing short skirts and billowing scarves, their muscular bodies with prominent ribs, their faces with wrathful expressions, their hair and brows neatly incised, their topknots with foliate headdresses. Each statue is inscribed to the reverse, 'Tenmei san, mizunoto-u toshi, kichijitsu, kore wo osaku' ('This is donated on an auspicious day, in Tenmei 3 (corresponding to 1783), in the year of mizunoto-u').HEIGHT each 117 cm (excl. base) and 157.5 cm (incl. base) WEIGHT 92 & 96 kgCondition: Very good condition with old, attractive wear; casting flaws, minor nicks, light scratches, small dents. The wood stands with some wear, minor nicks and scratches, expected age cracks.Provenance: US private collection. The inscription on the present nio statues records that they were donated in Tenmei 3 (1783), a fateful year during which the devastating Tenmei eruption on Mount Asama in central Honshu occurred, exacerbating the Great Tenmei famine. It is plausible that an ardent patron commissioned and donated the pair to protect an important temple from further calamity during a particularly difficult time.Nio or Kongorikishi are two wrathful and muscular guardians of the Buddha standing today at the entrance of many Buddhist temples in East Asian Buddhism in the form of frightening wrestler-like statues. They are dharmapala manifestations of the bodhisattva Vajrapani, the oldest and most powerful deity of the Mahayana Buddhist pantheon. According to Japanese tradition, they traveled with Gautama Buddha to protect him. Within the generally pacifist tradition of Buddhism, stories of dharmapalas justified the use of physical force to protect cherished values and beliefs against evil. Nio are also seen as a manifestation of Mahasthamaprapta, the bodhisattva of power that flanks Amitabha in Pure Land Buddhism and as Vajrasattva in Tibetan Buddhism. They are usually a pair of figures that stand under a separate temple entrance gate, usually called Niomon in Japan.Guhyapada (Japanese: Misshaku Kongo) is a symbol of overt violence: he wields a vajra mallet and bares his teeth. His mouth is depicted as being in the shape necessary to form the 'ha' or 'ah' sound, wherefore he is also known as Agyo in Japan. Narayana (Naraen Kongo) is depicted either bare-handed or wielding a sword. He symbolizes latent strength, holding his mouth tightly shut. His mouth is rendered to form the sound 'huṃ', 'heng', or 'un'. He is also referred to as Ungyo in Japanese due to his closed mouth.Literature comparison: The two nio figures closely resemble a pair of wood guardian figures, dated to the late Kamakura period, early 14th century, each 86.4 cm high including the base, in the collection of the Metropolitan Museum of Art, accession numbers 64.292.1 and 64.292.2.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
AN UNUSUAL BRONZE AND WOOD GROUP DEPICTING A HAWK ON A BIRDHOUSEThe hawk by Nojiri Hidechika for the Genryusai Seiya workshop, signed Hidechika and sealed Seiya chuJapan, Meiji period (1868-1912)The majestic bird of prey naturalistically cast with finely incised plumage, ring-punched claws, elegantly curved beak, and gilt eyes with black pupils, perched on a gnarled branch atop the roof of a Japonisme hardwood lantern-form birdhouse, the roof decorated in gold and colored takamaki-e with aogai inlays to depict autumnal maple leaves borne on twisted vines, above the birdhouse with four intricately carved panels depicting phoenixes, framed by bands of key-fret, the stand and feet incised with stylized flowerheads and foliate scroll. Signed underneath the eagle HIDECHIKA and with seal mark SEIYA chu [by Hidechika, cast by the Seiya workshop].HEIGHT 22.5 cm (the bird), 104.5 cm (total)WEIGHT 3.92 kg (the bird), 9.32 kg (total)Condition: The Hawk's feet with restorations and replaced screws, a loss to one claw, and traces of soldering. The stand with losses to inlays and lacquer, minor chips and scratches, expected age cracks.Provenance: French private collection.Genryusai Seiya was a master craftsman in charge of a workshop specializing in export wares of the highest quality. Production included human genre figures, vases and exotic bronze models of animals probably influenced by the opening of Tokyo Zoological Gardens in 1882. The present piece is a brilliant example of Seiya's naturalistic bronzes.Auction comparison:Compare to a closely related bronze of an eagle, by Seiya, sold at Christie's, Japanese and Korean Art, 16 September 2003, New York, lot 344 (sold for 6,573 USD).
A LARGE CHINESE NEOLITHIC / BRONZE AGE PAINTED POTTERY JAR, XINDIAN. Bulbous body, two wide loop handles at the waist with a tall wide neck and mouth. The colour of the pottery varying from pale brown to black, a result of uneven conditions during firing. The outer surface covered with fine lightly incised parallel lines from the shaping tool. The shoulder and neck decorated in geometric patterns in dark brown pigment. Height 32cm, 35cm wide at handles. Xindian Culture (c. 1200 – 500 BC). Overall good condition with surface wear expected for age. No obvious signs of repair or restoration.
A CHINESE BRONZE RITUAL TRIPOD STEAMER, YEN, SHANG / WESTERN ZHOU DYNASTY, 12TH-11TH CENTURY BC. A large rounded body incised Fu Gui mark, with rope twist handles supported on three bovine mask which are hollow cast above three slightly tapered legs. To the well of the bowl is a hinged flat section with looped handle, pierced with five cross sections to allow steam to rise through the base section. 37.2cm tall. Total weight 4648 grams.Good visual condition for age. Repairs unknown.
Bronze, vergoldet. Filigran und durchbrochen gearbeitete Rahmung, bestehend aus Voluten, Schleifen und Rosenblüten. Facettiertes Glas. Rückseitig aufstellbar. Minim. altersgemäße Gebrauchsspuren. 27,5 cm x 16 cm.A pair of decorative Belle Epoque style gilt bronze table frames. Minor age-related signs of use.Deutsch. Um 1900.
WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A GERMAN BRONZE FIGURE OF A MAN WIELDING A SPEAR IN THE MANNER OF CASPAR GRAS, POSSIBLY 17TH CENTURYIn the Renaissance Mannerist style, now mounted on a mahogany swept base the figure 11.5cm high, 28cm high overall Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCaspar Gras (1585-1684) was considered to be one of the finest metalworkers in Northern Europe. He is particularly known for his small-scale Kunstkammer pieces, many of which were created during his appointment to the court of Archduke Maximillian III. Condition Report: Surface has been cleaned back leaving a warm paler golden tone, formerly holding something in right hand, some damage to feet from old mounting Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
AFTER GIAMBOLOGNA (ITALIAN, 1529-1608), A BRONZE FIGURE OF MARS ITALIAN, 18TH CENTURY On later plinth base 41cm high overall, the base 16 x 10cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseThis bronze is a cast of the sculpture by Giambologna which was cast in 1587. A similar example can be seen in the V&A, Accession number: A.99-1956Born in Flanders Giovanni Bologna (1524-1608), or short Giambologna went to Rome to study antique sculpture from about 1550 to 1553. He then travelled through Florence where he was persuaded to stay. He became sculptor to the Medici family in 1561 and thus became one of the most influential sculptors of the late 16th and early 17th centuries. He drew attention to many artists from Northern Europe and disseminated his style mainly through small bronzesCondition Report: wear to patina from age, use and handling- notably to exposed limbs, back , signs that some of this has been retouched under strong light- lower guard to sword reattached Condition Report Disclaimer
AFTER THE ANTIQUE, A BRONZE GROUP PLUTO AND PROSERPINE ITALIAN OR FRENCH, 18TH CENTURYNow set on a variegated red/white marble plinth base 33.5cm high overall, the base 13 x 9.5cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. damage to her left ankle and around his feet from previous mounting- joint above his left ankle working looseSurface rubbed to extremities with patina loss- her left knee, right calf etc. pin joint heads visible Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A DUTCH BRONZE SIX LIGHT CHANDELIER 17TH CENTURY Ball and knopped stem supporting scrolling branches, wide drip pans 57cm high overall, 62cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: One branch pin replaced with wood pic, vacant holes above branch supports suggesting it may have had option for reflectors above, previously fitted for electricity with drilled pans and nozzles, nozzles also with thread boring. Rubbing to main ball from branch contactWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AFTER THE ANTIQUE, A BRONZE FIGURE OF THE MEDICI VENUS LATE 17TH/EARLY 18TH CENTURY Traces of gilding to surface 32.5cm high, the base 10cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Fragmentary gilding to the surface- which has rubbed and worn from age and handling, fracture to left knee and across her right knee probably from weakness of casting join- 2 vacant fixing holes to baseWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A PAIR OF BRONZE CHERUBS EMBLEMATIC OF ASTRONOMY AND ARCHITECTURE 18TH/19TH CENTURY Astronomy looking through a telescope and Architecture holding a compass, standing on later stepped black marble square section plinths, one underside with old handwritten note "Valentino Besarel Venice 1829-1902" each 38.5cm high overall, the plinths 12cm square Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseFor similar please see Christie's, Le Goût Steinitz, III, 6th December 2007, Lot 419. Although a definitive source for this rare design has yet to be established- it may be that the sculptor was drawing on Christoph Carl Punct's 1760s designs at Meissen. In particular model 2460 created circa 1760-65. Condition Report: Some minor surface wear and lighter, rubbed areas to the patination, resulting in a matte mid-brown finish interspersed with darker areas. Some more pronounced rub to drapes, The telescope and drapes bearing traces of gilding. Small crack to the drape of the putto with the compass.small edge chips to basesWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A PAIR OF FRENCH BRONZE ANDIRONS POSSIBLY REGENCE EARLY 18TH CENTURY Central octagonal stepped vase with winged female mounts each 41cm high, 18cm wide, 21cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Surface with accretion of dirt and old polish- colour variances suggesting these may have had gilded detailingWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AFTER BARTHELEMY PRIEUR (FRENCH, 1536-1611), A BRONZE FIGURE OF A YOUTH OR NARCISSUS ITALIAN OR FRENCH, EARLY 18TH CENTURYDepicted standing in contrapposto pose, later striated stone base the figure 12.5cm high, 32cm high overall Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseComparison can be drawn with the bronze figure of a youth attributed to Barthélemy Prieur and held in the Wallace Collection. The collection notes that the pose is derived in part from Michelangelo's "Dying Slave" for the unfinished tomb of Pope Julius II. However a better source of inspiration was to have been found at the time in a figure of Narcissus titled "Genius of Eternal Rest" a Roman marble figure now held in the Louvre.Whilst this lot shares the same sinuous extenuated limbs and slight rolling contrapposto as the Wallace collection figure- the hands are not clasped to the head- but rather around a kind of naturalistic crown on his head.Condition Report: Wear from handling resulting in areas of paler patina to most of body except upper back- small scuff to left hand Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A PAIR OF BRONZE ARGAND LAMPS IN THE MANNER OF THOMAS MESSENGER AND SONS, MID/EARLY 19TH CENTURY Each of single swinging branch form with scroll and swan head bases each 49cm high Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: these seem not have been electrified- some dirt and polish accretion, some distortion to drip pans around burners, rubbing to extremities such as feet- small areas of retouching. Later oil fitments.Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A PAIR OF BRONZE STATUETTES DEPICTING CHAINED BARBARY PIRATESAFTER PIETRO TACCA (1577-1640), IN THE MANNER OF FOGGINI (1652-1725)LATE 18TH/EARLY 19TH CENTURY Set on variegated Verde Antico marble pedestalseach 46cm high, the bases 14.5 x 14cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseThese figures are derived from Tacca's early 17th century "Monumento dei Quattro mori" around the statue of Ferdinando I de' Medici, Grand Duke of Tuscany, in Piazza Micheli, Livorno. The figures represent captured Ottoman pirates and it is thought that he sculpted them using Turkish and Algerian men held in the Bagno dei Forzati in Livorno and used by the Duke as galley slave. Reduced scale bronze adaptations were made by Foggini and these were the basis of reproductions for connoisseurs into the 18th century. The Monument influenced Bernini's Fountain of the Four Rivers in the Piazza Navona in Rome. Pietro Tacca was the chief pupil and Follower of Giambologna.Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. scuffs and attrition to exposed knees, rubbing from handling to exposed limbs- shoulder blades etcleft hand figure has been knocked- resulting in some damage to pedestal under buttocks Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A GRAND TOUR BRONZE MODEL OF A ROMAN BATH ITALIAN, EARLY 19TH CENTURYPossibly for use as a jewellery or pen tray 4.3cm high, 24cm wide, 9cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: some typical mild rubbing to feet- and very mild wear to interior and edgesWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AFTER THE ANTIQUE, A BRONZE FIGURE 'CROUCHING VENUS' PROBABLY FRENCH, 18TH CENTURY Now mounted on a turned wood socle and further black slate base the figure 17cm high, 26.5cm high overallProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: overall pale reddish brown patina, some wear to extremities such as base of back, knees and arms, large later steel screw fitted to base, separate elements of base looseWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A BRONZE AND BRASS LAMP BASECIRCA 1830 AND LATER In the form of a Roman twin handled urn, later electrical fitment44.5cm high (including fitment), the base 9.5cm square Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: gilding and patina heavily rubbed from handling and cleaning, surface with accretion of dirtWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use.Condition Report Disclaimer
A PAIR OF BRONZE TABLE TOP STORM LANTERNS LATE 19TH CENTURY/EARLY 20TH CENTURY Handblown glass shades with metal protective top rims on foliate stepped bases, the bases in the form of upturned stylised Corinthian capitalseach 35cm high, the bases 10.5cm squareProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: The bases look to have been polished quite hard with only traces of old patina remaining, the glass fits well and though the top rims are a little loose seem to be possibly original Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A GEORGE IV GILT BRONZE AND METAL LAMP BASE CIRCA 1830 With fluted floral wrapped column, hipped lion paw feet, triform swept base, fitted for electricity 55cm high, the base 21.5cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: gilding rubbed from handling and cleaning, elements slightly loose on frame, surface with accretion of dirtWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer
AFTER GIAMBOLOGNA (ITALIAN, 1529-1608), A BRONZE GROUP 'ABDUCTION OF THE SABINE WOMEN' POSSIBLY ITALIAN OR FRENCH, 18TH CENTURY35cm high, the base 11cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Wear to dark patina- most notably to extremities shoulders, elbows, exposed legs- base with drilled fixing hole Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Loading...
![Antiquities - Late Bronze Age, a Danish flint sickle, curved blade, 14.6cm long, Aalborg, North Jutland, Denmark, [1]Provenan](https://cdn.globalauctionplatform.com/81db2a38-dc05-4f08-bcee-af3401020fd6/41cb4432-1bff-48d7-aef1-af5e005b4eda/468x382.jpg)
