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Click here to subscribeLADY'S GUCCI TWIRL STAINLESS STEEL QUARTZ BANGLE WATCHthe round bronze dial lacking numerals, with stainless steel hands, riveted bezel to the 21mm case, the case reversible allowing wear as a bangle, with 10864684 to the caseback, on a broad stainless steel bangle strap 33mm wide, in box, with outer sleeve, with papers
Two Burmese cast bronze 'rain drums', each of waisted cylindrical form with overlapping top and strap handles, decorated with bands of geometric and diaper designs, one with 'frogs' to the top, 49cm and 51.5 cm high (2)Please Note: The images for this lot and lot 146 have been transposed in the printed catalogue. The online image and catalogue description are correct.
AN ALBANY FINE CHINA GOLDFINCH, bronze and porcelain study of two birds perched on branches and leaves from the European Finch series, on a rectangular marble base, limited edition (120/500), by David Lovegrove, with certificate, (one bird has one leg absent and losses to both wing tips), 35 cms high
Rory Breslin (b.1963) ARTEMISION HORSE STUDY bronze; (no. 2 from an edition of 3) signed and numbered 28 by 29 by 11in. (71.1 by 73.7 by 27.9cm) The sculpture is a study of the horse's head in oneof the most popular and important displays in theNational Archaeological Museum in Athens, thebronze Horse and Jockey Group. The group wasfound in a shipwreck off Cape Artemision, in NorthEuboea, which was discovered in 1926. The firstparts of the equestrian statue were recovered in1928, with more pieces found in 1936 and possibly1937. The statue was reassembled, and afterrestoration went on display at the Museum in 1972.The Horse and Jockey Group is special in beingone of the few original large-scale bronzes securelydated to the Hellenistic period. It is approximatelylife-size in scale and consists of a horse in midgallop,on which is seated a youthful jockey, wholooks back over his shoulder. The Horse andJockey group is unusual in combining an athleticsculpture with an animal. The unknown sculptor ofthis masterpiece has captured the excitement andvitality of a horserace in mid-action. Some scholarshave previously dated the group from the latefourth century B.C. to the first century B.C. Thestatues have been attributed previously to varioussculptors, including Kalamis, Lysippos and thePergamene school.Seán Hemingway, curator at the MetropolitanMuseum in New York and author of The Horse andJockey from Artemision: A Bronze EquestrianMonument of the Hellenistic Period., concludesthat the most likely date for the group is thesecond half of the second century B.C., based ona combination of classical features and realism inboth statues. He gives further consideration ofseveral late Hellenistic shipwrecks carryingcargoes of sculpture (the Antikythera, the Mahdia,and the Artemision) which leads him to concludethat the Horse and Jockey group was plunder ofsome kind. He builds in his narrative a strongcircumstantial case for it having been plunderedfrom Corinth in 146 B.C. by Mummius, who thengave it to his first general, Attalos, who wasshipping it to Pergamon when the ship waswrecked in the Trikiri channel north of Euboia.It is believed that of the three likely contexts for theoriginal function of the Horse and Jockey (funerary,decorative, or dedicatory), that the bestinterpretation is that the group was set up in asanctuary to honour one or more victories in horseraces. The large size of the monument and the highquality of the sculpture suggest commission by aroyal or wealthy Greek aristocratic.
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