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Lot 635
A Pair of Louis XVI Style Gilt Bronze Figural Candelabra. Each modelled an as infant satyr seated on a cushion above a square base on scrolling feet with a pair of acanthus scrolling arms issuing from the base, with leafy collars and bulbous nozzles drilled for electric, 9¾ ins (25 cms) high.
Lot 636
A Pair of Delightful Late 19th Century Bronze, Gilt Bronze & White Marble Figural Candelabra in the Louis XVI Style by Emile Colin & Cie. The patinated figures of winged cherubs holding aloft bunches of scrolling gilt branches bearing foliate cast candle cups, buds and flower heads. The white marble pedestals encircled with gilded wreaths of ribbon tied laurel, signed ontop of socle E. Colin & Cie Paris, 21¼ ins (54 cms) in height.
Lot 637
A Fine Quality 19th Century Ormolu & Bronze Mantel Clock by Raingo Frères Paris. The clock surmounted by the brown patinated figure of a cherub reclining on a naturalistic base examining a butterfly resting amongst a clump of flowers. The gilded stop fluted case inset with figural bronze roundels to the corners depicting bacchanalian cherubs, and raised on foliate scrolls adorned with chains of bell flowers, 20½ ins (52 cms) high, 25 ins (64 cms) in width.
Lot 641
A 19th Century Figural Bronze Globe Clock surmounted by the floating figure of a dreaming nymph draped in a cloth with a star in her hair. The clock having applied gilt Roman numerals and a scrolling snake forming the pointer. The movement striking a bell with Vincenti 1855 Medaille d'Argent stamp to the back plate. Mounted on a moulded black marble plinth 24½ ins (62 cms) in height.
Lot 642
A 19th Century Bronze & Gilt Bronze Clock Garniture Set. The clock housed in a globe studded with gilt stars and encompassed with a band of signs of the zodiac. The globe held aloft by three cherubs standing on a vert marble scotia pedestal with an ornamental band of gilt morning glory, 19½ ins (50 cms) in height. The accompanying figural three branch candelabra 18 ins (46 cms) in height.
Lot 644
Émile André Boisseau (French, 1842-1923). A Large & Impressive Bronze Figure of a man with sword & plough, standing on a round naturalistic base with a plaque to the front inscribed; ' ENSE of ARATRO' (Par l'Epee & par la Charrne) and signed E. BOISSEAU, with 'Societie des Bronze Paris' stamp, 34 ins (86 cms) high.
Lot 658
A Fabulous 19th Century Boulle-work Bookcase elaborately inlaid with engraved brass and red tortoiseshell on an ebonised ground and adorned with fine gilt bronze mounts. The upper section having two doors with arch-topped bevelled glass panels displaying shelves within, surmounted by a domed pediment centred by a gilded anthemion motif issuing scrolling husk flowers, flanked by finials either side. The base section with panelled doors on a plinth base; the canted side adorned with gilded female busts, 104 ins (264 cms) high, 52 ins (132 cms) wide.
Lot 21
A Large Sèvres Hall Vase & Cover with gilt bronze mounts on a revolving pedestal. The slender ovoid body with hand painted scene signed Dapoigny, depicting a maiden sat in continuous landscape with a garland of flowers in her lap and Cupid at her feet. The deep rich blue foot and collar adorned with gilt embellishments and having a bell shaped cover and gilt metal mounts. 40 ins (102 cms) in height.
Lot 24
A 19th Century Sèvres Jardiniere with gilt bronze mounts. The flared oval vessel having a roundel either side finely painted with floral bouquets and enriched with raised scrolls of gilding. The branch form handles issuing clusters of grapes, with undulating vines trailing around the rim. Raised on four scroll feet festooned in floral swags, 13 ins (33 cms) in height.
Lot 26
A Louis XV Style Porcelain-mounted Writing Table quarter-veneered in tulipwood with inlaid diagonally grained rosewood bands. The top having a tooled leather insert, the frieze with a drawer on one side and finely cast gilt bronze mounts of crested foliage and sprays of laurel leaves & berries. The Sèvres style porcelain inserts painted with romantic scenes in bleu celeste borders enriched with gilding, 35 ins (79 cms) wide, 17 ins (43 cms) deep.
Lot 28
A Fine Victorian Burr Walnut Credenza inlaid with kingwood cross-banding and having 'Sèvres' porcelain plaques and ornate gilt bronze mounts. The central doors adorned with oval scenic panels depicting fêtes champêtres in bleu celeste borders and elaborate gilt frames cast with flowers and foliage, flanked by integral columns and bowed glass side cabinets displaying velvet lined shelves. The frieze with further plaques and ornamentation, 42½ ins (108 cms) high, 71 ins (180 cms) wide.
Lot 103
Etruria, Volaterrae Cast Æ As. 3rd century BC. Janiform head, wearing pointed hat / Etruscan legend 'velaθri' and I around club. Haeberlin p. 246, 1-23 pl. 84, 1-3; ICC 136; HN Italy 109b. 140g, 61mm, 6h. Very Fine. Rare. From the VCV Collection. Volaterrae (Etruscan Velathri, modern Volterra), the defensive fortress of northern Etruria, firmly under Roman control by the early third century, issued three series of cast bronze. A Janiform head wearing a pointed cap is the obverse type common to all three issues, very possibly influenced by the contemporary Roman asses and quadrigati depicting the Janiform heads of the Dioscuri and the bronze asses characterized by the head of Janus. The Volaterran Janiform head is perhaps Culsans, the Etruscan equivalent of Janus as depicted by the celebrated statue from Cortona. The three reverse types are: mark of value, club and dolphin surrounded by the ethnic.
Lot 12
Etruria, Populonia (or Pisae) AR 20 Units. Early 5th century BC. Amphora with blunt base set in elaborate stand, from the top of which emerges an Octopus, tentacles spread to either side, XX below, all within linear border. EC I, Pisae 1.5 (this coin): HN Italy 104 (Pisae?); Sambon 20. 22.55g, 29mm. Good Very Fine. Extremely Rare; one of just five recorded examples, of which it is among the finest and the only one in private hands. From the VCV Collection. The tentative attribution to Pisae of the octopus/amphora series is based on Garrucci's statement (p. 49, 18) that two examples, first published by Bompois 1879, pl. 18, come from Pisa and that the name teuthìs or teuthòs, Greek for octopus, is similar to the ethnic Teuta-Teutones recorded by Pliny and Cato as the name of the first inhabitants of Italian Pisa. Subsequent provenances attested for in and around Pisa including Toscanelli 1933 (p. 369 note 2 ), Neppi-Modona 1953 (p. 30h and p. 42 k), Bruni 1993 (pp. 81-82), ASAT (p. 63), Tesei 1992 (p. 196), BTCGI XIII (pp. 597-598) and HN Italy (p. 30) only tentatively imply a Pisan provenance for the series. The tentative attribution to Pisae of the octopus/amphora series is based on Garrucci’s statement (p. 49, 18) that two examples, first published by Bompois 1879, pl. 18, come from Pisa and that the name teuthìs or teuthòs, Greek for octopus, is similar to the ethnic Teuta-Teutones recorded by Pliny and Cato as the name of the first inhabitants of Italian Pisa. Subsequent provenances attested for in and around Pisa include Toscanelli 1933 (p. 369 note 2 ), Neppi-Modona 1953 (p, 30h and p. 42 k), Bruni 1993 (pp. 81-82), ASAT (p. 63), Tesei 1992 (p. 196), BTCGI XIII (pp. 597-598) and HN Italy (p. 30) only tentatively imply a Pisan provenance for the series. The design on this coin is impressive for its boldness and novelty, and at the same time highly enigmatic. Depicting an amphora on an elaborate (and probably weighted) stand intended to keep it upright when dropped from a boat into the sea, along with the top of the head of an octopus emerging from the opening with its tentacles splayed outwards on all sides, a quotidian fishing tool is transformed into a powerful sigil for the issuing authority. Along with the ubiquitous Gorgoneion, this type is emblematic of the Etruscan coinage series, though because of its extreme rarity few have ever seen one in hand and so it has for the most part been considered unobtainable by collectors and institutions alike. The elusive nature of the coin is matched by the obscurity of its significance; why the octopus motif occurs repeatedly on the coinage of Populonia is not known. It seems unlikely to be apotropaic in nature despite the qualities (some real, some imagined), attributed to octopodes by the ancients, since though it was known to be a dangerous, crafty and venomous animal, it was evidently also prized as a food source by the coastal Etruscans. The portrayal of the octopus in an amphora therefore suggests a usage similar to that of the crab of Akragas or the barley grain of Metapontum, which represented a prime local produce. As a powerful marine predator it is tempting to visualise a connection between the recurrent octopus theme and Etruscan naval prowess. Aside from their extensive maritime trade connections, the Etruscans were also renowned for possessing a formidable navy - something which only the richest states could afford to construct, equip and maintain. Indeed, Herodotus credits the Etruscans with the invention of the rostrum - the bronze beak affixed to the prow of warships to ram enemy vessels. Until the 5th century BC the Etruscans had effectively dominated the Tyrrhenian Sea, and at the Battle of Alalia were strong enough to form a combined fleet of 120 warships with the Carthaginians to resist Greek encroachment and piracy. The other principal types of the period - the Chimaera, the lion, the boar, and a marine lion-serpent monster - are clearly carefully chosen for their connotations of strength and intimidatory qualities. A simply mundane significance to this particular issue would therefore seem particularly incongruous. It thus seems highly likely that the ancient observer was intended to infer some deeper level of meaning from this motif, perhaps related to guile and ferocity in a marine context.
Lot 151
Sicily, Akragas Æ Tetras. Circa 420-406 BC. AKPA, eagle, with head lowered, standing right on hare; crab behind / Crab, shrimp to left below; three pellets below crab. SNG ANS 1037; Calciati I p. 178, 50; SNG Copenhagen -; SNG Morcom -; Laffaille -; Virzi 603. 9.40g, 23mm, 12h. Extremely Fine. Excellent condition for the type, and for Akragantine bronze in general.
Lot 206
Sicily, Syracuse Æ Hemilitron. Dionysios I, circa 415-405 BC. Obverse die signed by Phrygillos. Head of Arethusa left, hair in sphendone inscribed ΦPI; dolphin behind / Wheel of four spokes; ΣY-PA in upper quarters, dolphins in lower quarters. CNS 19; SNG ANS 412. 3.64g, 17mm, 2h. Extremely Fine. Rare. A very pleasing example of a signed Syracusan bronze.
Lot 269
Attica, Athens AR Tetradrachm. Circa 500-490 BC. Archaic head of Athena right, wearing crested helmet decorated with chevron and dot pattern / Owl standing right, head facing, olive sprig behind, ΑΘΕ before. Cf. Svoronos Pl. 4, 15. 17.05g, 24mm, 4h. Extremely Fine. In particularly good condition for the issue, with a full crest; struck and preserved on sound and lustrous metal. Athens was one of the few Greek cities with significant silver deposits in their immediate territory, a remarkable stroke of fortune upon which Xenophon reflected: 'The Divine Bounty has bestowed upon us inexhaustible mines of silver, and advantages which we enjoy above all our neighbouring cities, who never yet could discover one vein of silver ore in all their dominions.' The mines at Laurion had been worked since the bronze age, but it would be only later in 483 that a massive new vein of ore would be discovered that enabled Athens to finance grand new schemes such as the construction of a fleet of 200 triremes, a fleet that would later prove decisive in defending Greece at the Battle of Salamis. This coin was produced in the period before the discovery of the new deposits at Laurion, around the time of the Ionian Revolt and the subsequent first Persian invasion of Greece. Athens aided the Ionian Greeks in their rebellion against Persian tyranny with both coin and soldiers, participating in the 498 BC march on Sardes which resulted in the capture and sack of that city – the only significant offensive action taken by the Ionians, who were pushed back onto the defensive and eventually subjugated once more. Vowing to punish Athens for their support of the doomed rebellion, the Persian king Darius launched an invasion of Greece, landing at Marathon in 490 BC. Just twenty five miles from Athens, a vastly outnumbered Athenian hoplite army inflicted a crushing defeat on the Persians, who after suffering horrendous casualties turned to their ships and fled.
Lot 362
Thrace, Apollonia Pontika AR Tetradrachm. Circa 400-350 BC. Laureate head of Apollo to right / Anchor, crayfish to right, A and Î OΛYANAΞ (magistral name) to right. Traité -; SNG Copenhagen -; SNG BM -; SNG Stancomb -; SNG Berry -; Helios 8, lot 3 (this coin); Winterthur I. 1159 (same obverse die); Bunbury collection part II, Sotheby, Wilkison & Hodge 7 October 1896, lot 119. 16.97g, 23mm, 7h. Extremely Fine. An extremely rare variety, apparently only the second known. Ex Helios 8, 13 October 2012, lot 3. This coin is struck from an obverse die which is arguably the most sensitively and delicately engraved of the whole series. The artist has paid particularly close attention to the hair and laurel wreath of Apollo, and has created a composition of rare beauty among what are all too often functional portraits of parochial style. Founded in the 7th century BC by colonists from Miletos, from its earliest days Apollonia possessed an important extra-urban sanctuary of Apollo from which the city took its name. The temple contained a famous colossal statue of Apollo by Calamis which stood forty five feet high, though this would in 72 BC be captured and transported to Rome by the general Lucullus, and placed in the Capitol. The earliest coinage of Apollonia seems to have been cast bronze arrow-head ‘proto-money’, which soon gave way to the familiar Apollo and anchor with crayfish types. The presence of the crayfish (astakos) on its coinage may be a punning reference to the name of the region, Astike.
Lot 48
Etruria, Populonia AR 20 Asses. 3rd century BC. Bearded head of Tinia facing three-quarters right, open wreath (of ivy?) suspended above, ties hanging loose to either side; X on either side of forehead; thunderbolt with arrow-head shaped tip to right / Large winged thunderbolt within a circle of smaller thunderbolts. EC I, 69.2 (O1/R2, this coin); HN Italy 160; Sambon -; Vicari -. 7.00g, 23mm, 12h. Extremely Fine. Of the Highest Rarity - one of only two known examples, and easily the finest and most complete (the other being the ADM specimen sold in NAC 2, 17 = NAC 7, 46, which lacked most of the reverse design). From the VCV Collection. Tinia, the local equivalent of Zeus and Jupiter, was the supreme Etruscan thunder-god who wielded three of the eleven types of thunderbolts known to what the Romans called the Etrusca disciplina - the Etruscan systematic teachings about how to divine the will of the gods and act in accordance with it. Inscriptions and representations in art confirm beyond doubt that Tinia was the head of the Etruscan pantheon, though unlike his Greek and Roman counterparts he stood at the centre of a council or circle of gods and was bound by their will in a way that seems irreconcilable with the temperamental and unruly Zeus/Jupiter. According to Etruscan lore preserved by the Romans, the three types of bolts Tinia might throw were: a benign bolt that served as a warning; a bolt that could do either good or harm, for which he needed the approval of the Twelve Gods; a completely destructive bolt, for which he had to have permission from a group called the Shrouded Gods (Dii Involuti). The Etruscan belief in a wide variety of lightning bolts is reflected in the many different sizes and shapes of such bolts depicted with Tinia in Etruscan art. A bronze mirror c. 470 BC in the Vatican Museums illustrates the entreaties of Thethis (Thetis) and Thesan (Eos) to spare their sons, Achilles and Memnon. Tinia is shown holding two types of thunderbolts; in his left hand are three undulating serpent-like bolts; in his right hand is a single pointed bolt, the other end appearing not unlike the feathered end of an arrow. The bolts he is shown with in other artistic depictions vary wildly from each other, quite unlike the Hellenic Zeus or Roman Jupiter, whose bolts are regularly symmetrical. The Etruscan belief in a rich and widely varying lightning repertoire is therefore quite consistent with its representations alongside Tinia in their artworks, and indeed on this particular coin we can observe several very different types of thunderbolt.
Lot 486
Mysia, Kyzikos EL Stater. Circa 500-450 BC. Roaring griffin standing to left on tunny fish, right foreleg raised and tongue protruding / Quadripartite incuse square. Von Fritze 99; Boston MFA 1455; Gulbenkian 623. 16.12g, 20mm. Near Mint State. Very Rare. An electrum stater of superlative quality, certainly the finest known of the type, and by quality one of the very best of all known Kyzikene staters. An extremely impressive coin. A mythical creature of great antiquity, griffins are represented in Egyptian and Persian art from as early as the fourth millennium BC; from the middle bronze age (c.1950-1550 BC) they begin appearing in Syria, the Levant and Anatolia, and they can be found in 15th century BC frescoes in the throne room of the bronze age palace at Knossos. Closely associated with guarding precious possessions and treasure, and so frequently utilised as a motif in such capacities, the griffin came also to be a symbol of divine power and so a guardian of the divine. Half lion and half eagle, and so possessing the power and dignity of both of these majestic animals, these fearsome creatures in time came to be associated with the vast quantities of gold that flowed south out of the vast northern wildernesses into Greek and Persian lands. This seemingly endless source of gold caused a great deal of speculation among the Greeks as to its origin; the myths and fables eventually found form in the idea of a land they called Hyperborea (‘beyond the north wind’). Homer, Pindar, Hesiod and Strabo all make reference to this legendary place, and Herodotus writes of it: “But in the north of Europe there is by far the most gold. In this matter again I cannot say with assurance how the gold is produced, but it is said that one-eyed men called Arimaspians steal it from griffins. But I do not believe this, that there are one-eyed men who have a nature otherwise the same as other men. The most outlying lands, though, as they enclose and wholly surround all the rest of the world, are likely to have those things which we think the finest and the rarest. (The Histories, 3.116) Though it is generally agreed that Hyperborea never actually existed as any single place, but was rather an amalgam of various fragments of truth and flights of fancy, one possible source for the northern gold may be found in the Altai Mountains of Skythia (straddling modern day Kazakhstan, Mongolia, China and Russia), whose name ‘Altai’ in Mongolian literally means ‘Gold Mountain’. It has been further suggested (Mayor, 1991) that this region, rich in gold run-off from the mountains, and which is also holds a great many Protoceratops fossils, may have been the ultimate source of the Greek myth of griffin-guarded gold. The sandstone rock formations skirting the gold deposits continually reveal through erosion bleached white, fully articulated skeletons of these prominently beaked quadruped dinosaurs, and being conspicuous against the red sediment would have been noticed by early inhabitants and travellers. Indeed, 5th century BC human remains in the Altai Mountains have been found bearing griffin tattoos, occasionally accompanied by gold griffin artefacts. That this symbol of power should be adopted by Kyzikos for its coinage again and again is hardly surprising then, given that the city possessed a virtual monopoly on gold coinage in the area from Troy to Ionia, in the Propontis, in Bithynia and in the Black Sea regions, and the animal’s fabled reputation as a guardian of the precious metal.
Lot 638
Roman Republic Æ Currency Bar. Rome, circa 280-250 BC. Bull walking to right / Bull walking to left. RRC 5/1; HNItaly 257; ICC 15; Haeberlin p. 143-4, 1-5, pl. 57, 1-3, pl. 59, 1, pl. 93. 862g, 156mm x 91mm, 12h. Very Fine, corner cut off. Very Rare, only six complete examples recorded, only one of which is in private hands. From an old English collection, attested as being outside of Italy since before 19 January 2011. Amongst the first cast bronze coins issued at Rome from about 280 are the lead-rich bronze quadrilateral currency bars which cannot readily be tied into the currency of the period, but which do occasionally bear the legend ROMANOM. In form they are reminiscent of the earlier ‘ramo secco’, herringbone and associated bars, but they have never been found in the same context. These bars may be seen not as coins but as ingots probably produced for the distribution of war booty at the time of the Pyrrhic and First Punic War (275-241). The weights for complete specimens range from about 1642 to 1746 grams, which would indicate that they were intended to be 5-as pieces (quincusses), based on a Roman libra of about 324 grams. They are usually found in fragments, indicating that they circulated as bullion with cast coins throughout central Italy. The Romans of later times lacked a coherent history for their early coinage, the surviving literary tradition on the early bronze currency being composed of relentlessly modernising Roman accounts. These accounts are inclined to invent historical as well as monetary events, and characteristically make the beginning of coinage respectably antique and Roman by associating it with the reigns of the semi-mythical kings Numa Pompilius (traditional date, 715-673) and Servius Tullius (traditional date, 578-535). The famous statement of Pliny the Elder in the 1st century AD explicitly states that: ‘Servius rex primus signavit aes. Antea rudi usos Romae Timaeus tradit. Signatum est nota pecudum, unde et pecunia appellata’ (king Servius was the first to mark bronze; Timaeus relates that previously they used raw metal at Rome. It was marked with the image of animals from which pecunia also was supposed to draw its name), (HN 33.13.43). This statement was confirmed by Cassiodorus as late as the 6th century AD: ‘monetae curam habere praecipimus, quam Servius rex in aere primum impressisse perhibetur’ (we advise you to take care of money, which king Servius is held to have first marked in bronze), (Variae 7.32.4.). Pecunia: ‘money or wealth’ from pecus ‘livestock’ (Varro, Ling 5.92). Modern philologists believe that the word may be connected to the Indo-European word *peku ‘movable personal property’ and the Latin peculium ‘private property, savings.’
Lot 639
Anonymous Æ Obol. Neapolis or Cosa (?) circa 273-269 BC. Helmeted head of Minerva right / ROMA, bridled horse’s head right; RRC 17/1d; HN Italy 278; Balbi de Caro, RIN 1988, p. 120, 1949; RBW collection 16. 6.03g, 17mm, 11h. Very Fine. Very rare variety. The entire RRC 17 series may have been struck at Cosa, whose coins share the same types and metrology. The bronze Romano coinage (RRC 17/1a-i) and its parallel issue of the Latin colony of Cosa in Etruria (Vecchi, EC 1, 1-6) have since the 19th century been termed litrai and half-litrae, which has led to confusion for it has no justification in the observed behaviour of the 3rd century central Italian economy. The ancient use of the word litra, a Greek term for a Sicilian bronze unit, in the context of a purely Romano-Etruscan coinage without any contemporary parallel in Italy, seems unlikely and certainly not of contemporary usage. It may be better to describe these interesting military issues in Italian Greek or Roman weight terms with their customary nomenclature. From the mid 4th century Metapontine bronzes of 7.5-9.5g bear the denomination OBOΛΟΣ (HN Italy 1639-40) and from c.326 the standard Æ unit of Neapolis weighs between 5 and 10 grams which probably represents a fiduciary obol, which comfortably accommodates the Romano and Cosa bronzes which range between about 5 and 8 grams. For an in depth analysis of Neapolitan bronze issues, see A. Campana, ‘A proposito dell’obol di bronzo’ in Panorama Numismatico 94, 1996, pp. 12-16.
Lot 87
Etruria, Populonia Æ Triens. Late 3rd century BC. Head of Menvra right, wearing Corinthian helmet, •••• below / Etruscan legend 'pvplvna', owl facing with wings spread, •••• between; countermarked crescent over line with two pellets. EC I, 133.26 (this coin); HN Italy 184; Sambon 114. 20.14g, 30mm, 11h. Very Fine, weakly struck. Rare. From the VCV Collection. The main bronze issues are made up of various denominations tariffed in unciae (represented by pellets) on a weight standard based on a nominal bronze as of 81g which was extant in Rome after the post-semilibral phase of c. 215-212 BC (Crawford 1974, 41).
Lot 916
Rectangular Solidus Weight (?) or Dedicatory Plaquette. Circa AD 507-511. Æ with silver inlay legend: SALVS DOMNO NOSTRO / CAELIANVS PATRICIVS PRAEF VR. Unpublished in the standard references, for similar examples cf. S. Benadall, Byzantine Weights, 1996, 172 (in the names of Zeno, Odovacar and Symmachus, now in the BnF, Paris); J. Forien de Rochesnard, Album des poids antiques 3, Rome et Byzance, p. 51 (in the name Albinus); NAC sale 5, 1992, 621 = NAC sale 54, 2010, 1339 (in the name Paulinvs praef. vrb.), sold for CHF 4,600. 3.66g, 20 x 14mm, 6h. Very Fine. A most interesting historical document. The office of praefecti vrbi, originally created by Augustus, acted as chief magistrates of the the city of Rome. They were always of high rank, viri clarrisimi in the late empire and in command of the police force, the vigiles urbanae and their general jurisdiction would have included the issue and of control of weights and measures. If these are solidus weights they usually suffer the drawback of being light, perhaps due the deterioration of the bronze, and weigh between 4.28g and 3.66g. H. Dressel in ‘Corpus Inscriptiones Latinorum’ (CIL) 15, listed these as ‘tesserae monumetorum’ or dedicatory plaquettes intended to mark dedications, reconstructions or repairs to buildings on the basis that some bear the formula renovavit which perhaps points to this conclusion.
Lot 92
Etruria, Populonia Æ Triens of 10 Units. Late 3rd century BC. Bust of Sethlans right, wearing pileus decorated with laurel-wreath, X behind / Etruscan legend 'pvplvna' below hammer and tongs, •••• between. ECI, 140.54 (this coin); HN Italy 195; Sambon 119. 8.04g, 24mm, 3h. Very Fine. Rare. From the VCV Collection. The final bronze issues (EC I, 139-140) are also tariffed with X and /X and may be metrologically connected with the remarkable struck bronze coins with incuse reverse and marks of value 1 to 100, cf. Uncertain Central Italy, EC I, 1-17.
Lot 98
Etruria, uncertain inland mint, possibly Arretium Æ Cast As. 3rd century BC. Wheel of six spokes within double linear border, ivy leaf countermark between two spokes / Wheel of six spokes within double linear border, •••••••••••• around rim. Cf. Haeberlin p. 254, 2 pl. 85, 1; EC II, 1; ICC 155; HN Italy 56a. 181g, 64mm. Extremely Fine. Extremely Rare, and of significant numismatic importance. A splendid example with fine olive-green patina. Haeberlin lists 11 examples, all in museum collections. Only one has ever appeared in a public sale: Sir Edward Bunbury collection II, Sotheby sale 10 June 1895, 27, now in the Haeberlin collection in Berlin. From the VCV Collection. Inland Etruria is dominated by the valley of the river Clanis (Val di Chiana) which played a major part in the economic development of Etruria. From its source near Arretium (Arezzo), the Clanis ran past Curtun (Cortona), Clusium (Chiusi) and after being joined by the Pallia (Paglia) tributary, flowed into the Tiber beside Volsinii (Orvieto). These four cities are amongst the oldest and most eminent of the Etruscan dodecapoleis and owed much of their wealth to the fertility of the Clanis valley, especially in grain. This region was also strategically located at the centre of a network of roads, and with its proximity to the Tiber it was a centre of trade and industry, especially that of bronze working. Notable masterpieces produced there include the celebrated Chimaera of Arezzo, now in the Museo Archeologico of Florence, and the richly decorated lamp of Cortona, not to mention the 2000 bronze statues looted by the Romans in 264 BC from the federal sanctuary of the nomen etruscum at Volsinii, from whence the celebrated Mars of Todi possibly originates. By the 3rd century the whole of Etruria was allied to Rome and therefore all the cast and struck series of Etruria must have been produced under its auspices. The hoard and single find evidence points to a federal coinage between several cities. Although none of the issues has an ethnic, many have Etruscan initials and intriguing countermarked symbols.
Lot 125
Monumental Maritime Beacons Pair of outstanding copper and brass marine beacons with brass maker's badges from "The Patent Lighting Company, Limited. Hayes, England". With cut crystal fresnel lens prisms set into bronze frames. Hinged and vented tops, hoisting rings, gass fitting, etc. Dimensions: 20" wide x 50" tall.
Lot 223
Monumental Maritime Beacon Monumental maritime beacon constructed of brass and copper with Fresnel glass lens. The outer housing is fitted with six triangular windows to protect the inner Fresnel lens. The Fresnel lens is constructed with individual pieces of crystal and set into a bronze frame. The hinged and vented top is secured by a dog bolt. This beacon has been converted to electricity but comes with an original gas burner as well. Dimensions: 40" tall x 20 diameter.
Lot 81
Monumental Copper and Brass Maritime Beacon Monumental marine beacon of polished copper and brass with cut glass Fresnel lenses in bronze frame. The hinged and vented top sets atop the outer housing which is fitted with six triangular glass panels. The beacon is mounted to a raised panel display base. Beacon Dimensions: 31" wide x 41" tall Overall Dimensions: 31" wide x 74" tall
Lot 203
A SOVIET BRONZE OF A FRONTIER GUARD ON SKIS, VSEKOKHUDOZHNIK, CIRCA 1932-1953, bronze with medium brown patinaheight: 23 cm (9 in.)marked A7531 on base, foundry mark in Cyrillic VSEKOKHUDOZHNIK Moscow and number 32 on basePLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Lot 52
NORBERT MICHAEL SCHRODL (AUSTRIAN 1816-1890)Nicholas I, 1853bronze with light brown patinaheight: 61 cm (24 in.)signed and dated on the base N. Schrodl 1853 with Saint Petersburg Foundry stampPROVENANCESotheby`s, London, June 9, 2010, lot 755LOT NOTESThis bronze figure of Tsar Nicholas I depicts the Emperor in military uniform before the start of the Crimean War of 1853-1856. Norbert Michael Scrodl worked in Saint Petersburg, Moscow, and Warsaw during the period of 1849-1853. He is best known for his work as a sculptor, but also created numerous ivory carvings and portraits.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Lot 53
AFTER EVGENY LANCERAY (RUSSIAN 1848-1886)Cossack Lovers Bidding Farewell, bronze with medium brown patinaheight: 35 cm (13 3/4 in.)inscribed E. Lancere in Cyrillic on base, with a Chopin foundry markPLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Lot 54
AFTER YEVGENIY NAPS (RUSSIAN 19-20TH CENTURY)The Falconer, bronze with gilded patinaheight: 28.8 cm (11 1/4 in.)inscribed E. Naps on basePLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
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