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Lot 476
A quantity of Japanese and Chinese items to include a bronze censer base, 14cms diameter; two miniature Yixing teapots, an ivory box and cover with shibayama decoration; a fan in a black lacquer case; a porcelain plate with Mandarin figure decoration; and other items.Condition ReportCenser base good condition, ivory box good condition with no chips, cracks or repairs, black lacquer fan case with several cracks and losses and the fan is associated, plate has a repaired chip and a hairline crack.
Lot 1254
A Victorian gilt bronze gothic revival table lamp with a glass reservoir for oil and decorated with quatrefoils and pinnacles, above a reeded stem, on a conforming base, on tripod feet decorated with lions, later fitted for electricity, 53cm high (max), together with a pair of gilt brass Gothic style bottle holders, each marked with a Royal Coat of Arms and inscribed 'Patent', each containing a cut-glass bottle (one damaged) (3). Provenance: From the collection of Edward Croft-Murray CBE (1907-1980).Condition ReportThe lead enters through an existing hole, no additional holes have been made.
Lot 95
Child's carriage box France 18th centuryWood, paint, iron, bronze, glass and fabric.Measurements: 163 x 136 x 78 cm .These carriages, the present surely made for children. They were made for the children of the aristocracy and diplomacy.Indistinctly each one has a page of the history of France through a dynastic or political event such as baptism, marriage, coronation or even funerals.In reality they are true peculiar and select travel thrones, in if these carriages are works of art in the ostentatious luxury adorned with profusion of gold and carvings dazzling meeting of all the decorative arts these valued techniques were made by the best artists and craftsmen, architects, carpenters, sculptors, painters, bronze workers, spinners, weavers, embroiderers and a long etcetera. It should be noted that although they are not considered in any case a travel vehicle but consist of small ceremonial saloons.Beyond their artistic quality these cars reveal the latest advances in French coachwork in terms of elegance and comfort and technique.In this particular case it is worth mentioning the possibility of being able to enjoy the coach as a piece of furniture/vitrine of elegant and classic design with interior light which can be displayed as a showcase for displaying jewelry or small works of art with glass shelves placed at different levels for a great distribution. All this will make it possible to enjoy all the splendor of the objects on display through the glass door.
Lot 19
Garrison with clock and candlesticks; France, XIX century.Onyx and bronze.Measures: 44 x 28 x 15 cm (clock); 40,5 x 18 x 18 cm (candlesticks).French 19th century furniture composed of a table clock and two matching candlesticks of four lights. The three pieces combine in their structure gilded bronze and onyx, of a beautiful marbling. The clock follows an architectural design, with a stepped base in slope, main body flanked by four columns with base and capital in bronze, upper entablature with frieze and cornice and upper finial composed of the round figure of a lion resting a paw on a sphere, symbol of power.The base is unornamented, derived from Empire models, but under the clock face we see a bronze plate cut, fretworked and worked in relief, with cornucopias, sphinxes and a central laurel wreath. The dial is of great richness, in gilded bronze with chiseled central rosette, Roman numerals in black and openwork hands. The entablature is also decorated with classical bronze motifs.The candelabra have a stepped base to match that of the clock, although the columns have a papyrus-shaped capital, Egyptian-inspired, different from the columns that adorn the centerpiece. Above this capital rises the body of lights, entirely made of bronze, with vegetalized turnstones, cornucopias and lighters in the shape of a classic vase.
Lot 28
Bargueño of the nineteenth century, following Neapolitan models of the seventeenth century.Ebony and tortoiseshell.Measures: 75 x 103 x 35 cm; 83 x 117 x 38 cm.This nineteenth century bureau is modeled after the Neapolitan baroque bureaus of the seventeenth and eighteenth centuries. It has an architectural structure and inlaid tortoiseshell decoration combined with brass applications. It is a very widespread model in Europe in the 17th century, especially in Italy, but originated in Holland. The decoration is concentrated on the front, and on the sides it is reduced to geometric carvings. The sample is divided into three streets, the central one slightly forward, with a baroque façade structure. The side streets house three equal drawers, with the front decorated with rectangular recesses. The bronze handles are decorated with plant buds. The central street is the main protagonist, as is usual in the baroque bargueño, and its structure shows the influence of contemporary architecture, with the columns standing out on the ground plan. The piece of furniture is topped by a very ornamented openwork corridor with rich interlacing and crowned by dancing putti. The bargueño rises on an arched base with turned legs and iron fasteners.
Lot 62
ARTHUR WAAGEN (Memel, Lithuania, 1833 - France, 1898).Clock "Valkyrie" "The time is money", ca. 1900.Sculpture in calamine with incorporated clock.Signed.Measurements: 70 x 39 x 23 cm.Round bust made of patinated bronze, representing an exotic and beautiful oriental princess, with a smiling face and rich attire composed mainly of coins, reflecting the sumptuousness of the East imagined by Europeans. It also has a fantastic mask on the chest, of classical mannerist inspiration, under which we can see the clock face, with a bronze front and Roman numerals in cobalt blue on white porcelain cartouches, with hands in the shape of a pike and fleur-de-lis.Born in the town of Memel, then belonging to East Prussia, the sculptor Arthur Waagen specialized in orientalist, genre and animal themes. He developed his career in France, and exhibited his works to the public from 1869. He is currently represented in museums such as the Sheffield Museum in England, as well as in numerous private collections.Orientalism should be understood as one of the currents that fed the European art of the nineteenth century, coinciding with the triumph of the capitalist bourgeoisie and imperialist countries, especially England and France. Within the romantic rejection of time itself, a fantastic and free flight in time and space is developed, towards antiquity and towards an Orient that extends from Spain to Russia, passing through North Africa and even reaching Japan. If Chinese art dominated the 18th century and Japanese art dazzled the Impressionists, the Near East will be the new discovery. Starting with the beautiful and unattainable odalisques of Ingres, with such pale skin and elegant gestures that always lead us to think of a captive Christian princess, never an Arab woman, the various pictorial schools will develop a whole new iconography that seeks to recreate in a fantastic way -since nothing is known about the Orient- a world forbidden to Westerners and full of attractions. Painters such as the French painters Bouguereau and Giraud recreated exotic scenes in great detail, seeking to serve as a window to the unknown through an almost photographic reproduction that endowed the narratives with verisimilitude and spurred the imagination of the European spectator.
Lot 50
Dutch chest of drawers, XVIII century.With marquetry.Back closures.Measurements: 76 x 102 x 58 cm.Dutch chest of drawers in bombé or "en tombeau" design. It has three registers occupied by drawers, being the two lower ones of the same size and the upper one a little smaller. The keyholes and handles are bronze. The sinuous movement printed on the front is characteristic of the Rococo style, which spread throughout Europe in the 18th century. Likewise, the fruit marquetry based on vegetal bouquets decorating the front, the top and the flanks is also typical of the period. It rises on finely carved balled claw feet. The skirt is trimmed in accordance with the rococo trend in which it is inscribed.
Lot 47
Swedish chest of drawers. Gustavian, ca.1780.Pine wood, with fruit marquetry.Marble top.Back latches.Measures: 80 x 100 x 50 cm.Swedish chest of drawers from the Gustavian period, a particularly fruitful period in the field of furniture. The furniture of the reign of Gustav III was characterized by a particular combination between the Nordic tradition and the influence of the French furniture Louis XVI. The result was a neoclassicism of its own production that would derive, by the refinement and simplicity of its lines, in the modern Nordic furniture. The chest of drawers in question consists of three large drawers, each with three handles, with the central line slightly advanced with respect to the sides, which imprints a subtle and harmonious movement to the design. Pine was the wood of choice in the Gustavian period, here used as the main wood, richly marked with neoclassical motifs based on festoons, garlands, baskets overflowing with fruit and Greco-Roman-inspired trophies. The legs are covered with bronze vegetable sheaths. The skirt is decorated with bronze vegetal ribbons. The top is in gray marble. The Swedish King Gustav was a great promoter of the arts and letters and was very interested in French culture, hence the neoclassical style that bears his name is in turn inspired to some extent by the Louis XVI style. Swedish architects and cabinetmakers traveled to France and French craftsmen went to Sweden, hence the great French influence, although Gustavian furniture aspires to greater simplicity than French furniture of the same period.
Lot 52
Art Deco clock; France, ca. 1928.Marble and bronze.Signed "L. Carvin".Measurements: 50 x 75 x 26 cm.French clock in Art Deco style and sculptural conception, with two large dogs magnificently modeled, with great naturalism and special attention to the different qualities of the fur, made in bronze with dark patina. They are placed on a typically Art Deco base, which combines different colored marbles and contrasting veins, with a geometric and staggered structure. The pillar on the left side houses the octagonal clock case with a molded profile, Arabic numerals in black on a gold background and wide, flat hands with a cut-out profile.The Art Deco style was inspired, unlike Art Nouveau, in the avant-garde of its time, especially in constructivism, cubism and futurism, as well as the rationalism of the Bauhaus. The progressive archaeological discoveries in Ancient Egypt also left their mark on certain hard lines and on the solidity of Art Deco forms. Likewise, as a machine-age style, it used the innovations of the times for its forms: the aerodynamic lines of modern aviation, electric lighting, marine cladding, skyscrapers, etc. These influences are reflected in designs of fractioned, symmetrical and clearly geometrical forms. Thus, Art Deco forms are idealized, balanced and proportioned, but at the same time synthetic and essential, far from the meticulous description of the reality of the late nineteenth century. Art Deco reached its apogee in the 1920s, although it enjoyed a long life due to its diffusion by Hollywood cinema, which allowed it to remain in vogue until the austerities imposed by the Second World War.
Lot 74
Pendant-amulet. Luristan, Iran 1000 B.C. ca. .Bronze.Measurements: 4,5 x 4,3 x 0,5 cm .Bronze pendant-amulet, in the shape of a goat.Luristan also called Lorestan. Any of the bronze horse ornaments, utensils, weapons, jewelry, belt buckles, and ritual and votive objects probably dating from about 1500-500 B.C. that have been excavated since the late 1920s in Harsin, Khorram?b?d and the Alishtar valleys of the Zagros Mountains in the Lorestan region of western Iran. Their exact origin is unknown. Scholars believe they were created by the Cimmerians, a nomadic people from southern Russia who may have invaded Iran in the 8th century BC, or by related Indo-European peoples such as the early Medes and Persians.
Lot 18
Phoenician idol of the I millennium B.C.Bronze.Measurements: 8,5 cm.Phoenician bronze idol representing a male character with an animal-like face, big ears and narrow chin. He appears standing, with his arms in a jar, in a completely hieratic posture. By its size and physical characteristics, it could be an ex-voto, an offering made to a divinity in fulfillment of a promise or in gratitude for a favor received.
Lot 26
Selection of nine pieces of jewelry. Rome, II-III centuries A.D.In gold and hard stones.Measurements: between 10 x 8 mm (the smallest) and 14 x 16 mm (the largest).Selection of nine pieces of jewelry entirely made of gold. They are decorated with hard stones, filigree and granulated, common techniques in Roman jewelry. Although this selection of jewelry has been made in the Roman period, stylistically they are rooted in Greek jewelry, an important artistic trend that included a large variety of objects within the Greek territory. Greek artisans worked from necklaces, crowns, to rings, diadems, bracelets and, of course, earrings. The stylistic differentiation between these objects allows them to be catalogued according to a period (Bronze Age, Mycenaean Civilization, Minoan Civilization, Dark Ages, Archaic Period, Classical Greece, Hellenistic Period, Roman Greece) or place of origin. The most used material was gold, worked following different techniques (filigree, casting, granulated, chiseled) and the combination of stones such as emerald, garnet, glass or even pearls. Within its ornamentation, the representation of figurative elements related to the plant and floral world, as well as animal and Greek mythological deities stands out.
Lot 106
Spearhead. Luristan, Iran 1000 B.C. Approx .Bronze.Measurements: 39 cm (h.) .Luristan also called Lorestan. Any of the horse ornaments, utensils, weapons, jewelry, belt buckles, and bronze ritual and votive objects probably dating from about 1500-500 B.C. that have been excavated since the late 1920s in the Harsin, Khorram?b?d, and Alishtar valleys of the Zagros Mountains in the Lorestan region of western Iran. Their exact origin is unknown. Scholars believe they were created by the Cimmerians, a nomadic people from southern Russia who may have invaded Iran in the 8th century BC, or by related Indo-European peoples such as the early Medes and Persians.
Lot 60
Two Etruscan perfume mixing sticks, 4th century BC.Bronze.Measurements: 18,5 and 23,5 cm (length).Two sticks for mixing perfumes, made of patinated bronze, decorated at the ends one with a lion and the other with a kind of flat shield as handles.Etruria, also often called in Greek and Latin texts Tyrrhenia or Tirrenia, was an ancient historical region located in central Italy, in the regions of Tuscany, Lazio and Umbria. The toponym derives from the Etruscans or Tyrrhenians, the people who settled there creating a powerful confederation, the so-called Etruscan dodecapolis.
Lot 163
Mercury of the Roman Empire, I-II century A.D.Bronze sculpture.Measurements: 7,5 x 3 x 2 cm.Statuette of the god Mercury in bronze, depicted standing naked wearing the winged cap and a bag with money. Mercury was the god of commerce and it was common in Roman times to deposit his statuettes in the lararium (altars) that the Romans had in their homes.
Lot 21
Set of three plates of legionaries; Rome, II-III centuries AD.Bronze.Measurements: 6 x 23 cm (diameter); 6,5 x 22,5 cm (diameter); 6 x 27,8 cm (diameter).Lot composed of three plates made in bronze that do not present any ornamental design, from which it is deduced a merely utilitarian function. This type of bronze vessels were very common in the trousseau of the military of ancient Rome, due to its strength and lightness that facilitated the transport of the same. The legion was founded in 165 A.D. by Emperor Marcus Aurelius (r. 161-80) together with the III Italica at a time when the Roman Empire was fighting in both Germania and Parthia. In 193, II Italica entered Rome with Septimius Severus, fighting for power. The new emperor gave them the title of Fidelis (loyal) to acknowledge support. Later Septimius Severus would use II Italica against the rebellions of Pescennius Niger and Clodius Albinus, and in his Parthian campaigns.
Lot 139
Sculpture of athlete; Rome, II-III centuries A.D.Bronze.Mounted on wooden base.Measurements; 11 x 8,3 x 2,3 cm; 4 x 15 x 9 cm (base).Round sculpture made of bronze representing the figure of an athlete. Conceived through a foreshortening, the character advances one of his feet, throws his neck back, and stretches out one arm while he gathers the other over his shoulder. A gesture that shows that he is probably a discus thrower. This type of discipline was one of the most valued in ancient Rome, which gave the Olympic Games a vital importance, so much so that during the celebration the Olympic truce was decreed, which allowed athletes to move safely even in territories with war conflicts.
Lot 103
Spearhead. Luristan, Iran 1000 B.C. Approx .Bronze.Measurements: 28,5 cm (h.) .Luristan also called Lorestan. Any of the horse ornaments, utensils, weapons, jewelry, belt buckles, and bronze ritual and votive objects probably dating from about 1500-500 B.C. that have been excavated since the late 1920s in the Harsin, Khorram?b?d, and Alishtar valleys of the Zagros Mountains in the Lorestan region of western Iran. Their exact origin is unknown. Scholars believe they were created by the Cimmerians, a nomadic people from southern Russia who may have invaded Iran in the 8th century BC, or by related Indo-European peoples such as the early Medes and Persians.
Lot 48
Mortar and hand. Rome, 2nd-3rd century A.D.Bronze.Measurements: 3,2 x 6,7 x 6,7 cm. mortar; 9,2 cm. long. hand.Roman mortar, with its hand. It was used in Roman times to mix essences. In the old recipe books there is a great quantity of recipes based on the use of the mortar, utensil that although nowadays is hardly used, in the past it was so varied in its use that every kitchen had a great variety of them, from the biggest ones to grind meats and vegetables to the smaller ones to grind spices. Already in antiquity there were large mortars, made of bronze to grind and mix marble or lime, which were used to make construction binders or plasters, such as stucco. The Roman poet Juvenal mentioned it in articles for the preparation of drugs, reflecting the early use of this instrument in apothecaries. The antiquity of mortars is also well documented in some works of ancient literature, such as the Egyptian Ebers Papyrus, which dates from 1550 BC and is considered one of the oldest documents on medicine in Ancient Egypt. It is also mentioned in the Old Testament. Good mortars must be heavy or made of strong materials to withstand prolonged pounding and thus reduce the substances to powder. The mortar cannot be brittle as it would break during the pulverizing operation. The material must also be cohesive so that its surface does not wear away and mix with the ingredients.
Lot 102
Osiris. Egypt, Late Antiquity, 712-332 B.C.Bronze sculpture on wooden base.Measurements: 6 x 2,5 cm (figure); 4 x 3 x 3 x 3 cm (pedestal) .Egyptian sculpture of the Late Epoch, representing the god Osiris full body. It is made in bronze, in round bulk. The god is identified by the Atef crown and by his arms crossed over his chest, with which he holds the whip and the staff that are two of his main iconographic symbols. Osiris is the Egyptian god of resurrection, symbol of fertility and regeneration of the Nile; he is the god of vegetation and agriculture, and also presides over the court of judgment of the dead.Once the New Empire disintegrated, the long period known as the Low Period (VII-IV centuries B.C.) began, during which the Egyptian state was progressively weakened, to finally be conquered by Alexander the Great in 332 B.C., becoming part of the Hellenic world. The Ptolemaic period lasted until the Roman conquest in 30 BC. This long period of Roman domination, although it extends until the Muslim conquest in 638 (from 395, after the death of Theodosius, Egypt becomes part of the Eastern Roman Empire), includes a first period where the ancient Egyptian structures still dominate, which lasts until the fourth century, when paganism is definitively prohibited.
Lot 3
Sword, period of the Warring Kingdoms. China, 5th century B.C.-221 B.C.Bronze.Measurements: 15,7 x 4,5 cm.Chinese sword made in bronze that presents a long blade, without more decoration than the central channel. With respect to the hilt, this one stands out for a short cross of the same length that the blade and a fist with decoration based on two balls that finish off the pommel as a disk. This type of utensil would have been created with a practical purpose, hence the lack of decorative elements. It is an example of the military technological evolution of classical antiquity. The name Combatant Kingdoms period comes from the Record of the Combatant Kingdoms compiled in the early years of the Han dynasty.
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