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Lot 168
Japanisches Katana Schwert des 19. Jahrhunderts Meiji-Periode, geschmiedete Stahlklinge mit Drachen- und Wolkengravur, eckige Bronze-Tsuba mit Wolkenornament, Fischhaut-beschlagener Griff mit heller Fadenumwickelung, 2 Bronze Menuki in Drachenform, die Holzscheide mit Sprenkellack und goldenem Ornament dekoriert, Bronze-Beschläge, daran 1 Tragekordel, L ca. 103cm
Lot 336
Sezessionistischer Pfeilerschrank um 1910, eckiger, würfelförmiger 1-türiger Korpus aus Obstholz (wohl Birne) auf 4 hohen schlanken, leicht konischen Vierkantbeinen, der Stand mit 1 Ablagefach, Bronze Streben, Kappen und Beschläge, auf der Tür ein eckiges Relief mit antikisierender Darstellung eines Kriegers, 2 seitliche Griffe, H 100cm, 38x38cm, Alterspatina, Flecken (Platte)
Lot 150
A ROMAN RED JASPER INTAGLIO. HERCULES CAPTURES THE DOE OF CERINEA.1st - 2nd century A.D.12 x 14 x 2 mm. The doe of Cerinea was, in Greek mythology, a doe with golden horns, silver and bronze legs that have been dedicated to Artemis by the nymph Taygete when the goddess had saved her from being pursued by Zeus. Cerinea's doe fled without ever stopping, bewitching those who pursued her, thus dragging them to a country from which they would never return; since she was a sacred doe, her blood could not be shed. When Heracles was commissioned by Eurystheus to capture it, initially he limited himself to chasing it: the doe took refuge by climbing a mountain called Artemisio and tried to cross the Ladon river, but during the crossing Heracles managed to capture it by hitting it with an arrow in one point of the cartilaginous paw, therefore devoid of blood vessels; then loading it on his shoulders he carried it to Arcadia. The doe was finally taken to Mycenae and released there. The subject rarely appears on the gems. In this stone the hero faces left and stands over the sacred doe, holding it by the horns and pressing his right knee on his back to block it. Hercules' body is in muscular tension showing off all its legendary strength. A club behind him. Probably inspired by a Greek model. Fine detailed execution for the size. The physiognomic features of the hero recall the Antonine portraits. Signs of wear.Provenance: U.K. private collection acquired in the british art market.
Lot 317
A LARGE RENAISSANCE ROCK CRYSTAL INTAGLIO ATTRIBUITED TO VALERIO BELLI. ALLEGORICAL SCENE WITH SEATED HERO AND ASSOCIATED EMBLEMA. 16th century36x47,5x3 mmThis fine rock crystal intaglio is attributed to the Renaissance gem engraver Valerio Belli (c. 1468 – 1546). The intaglio depicts a seated nude hero offering a statue of Nike to a triumphal ‘victory’ column or cippus surmounted by a sphere and a pile of arms and armor. It is referenced as Tassie-Raspe impression 7846 and has been identified as a model for early Wedgwood works described as an ‘Offering to Victory’ as well as related Matthew Boulton ormolu plaquettes. Although the intaglio is unsigned, there are many physical and stylistic similarities to various works by and attribuited to Valerio Belli, particularly works commissioned by Pope Clement VII. The victorious hero in the scene, depicted with curly hair and sideburns, resembles the Duke of Florence Alessandro de’ Medici, the suspected son of Pope Clement VII. Duke Alessandro had to rumored fathers, one was Lorenzo II de'Medici, later Pope Clement VII who was Valerio Belli's most important patron. Although his lineage cannot be confirmed, historians generally regard Alessandro's father to be Pope Clement VII due the contemporary accounts as well as a Alessandro's lifelong favoritism by Clement VII, including his appointemnt as the Duke of Florence. The Medici dynasty was in perennial conflict with Republican factions in Florence, rebelling against Medici control over the city in 1527.As a consequence of an alliance between Charles V and Clement VII, Papal and Imperial armies laid siege to Florence for 10 months, and Alessandro de Medici was installed on the throne of Venice in 1530 and subsequently made a hereditary Duke by Charles V in 1532, ending the Florentine Republic, and cementing Medici control over the city. The Medici, who were very conscious of their depictions, made numerous efforts to portray the young Duke Alessandro as a warrior, Roman emperor and hero in paintings, sculpture as well as medals, intaglios and cameos attribuited to Domenico de'Polo. Furthermore, a rock crystal vessel, attribuited to Valerio Belli, depicts both Pope Clement VII and Alessandro, demonstrating the intimate connection between these two historical figures. The Duke Alessandro was assassinated in 1537 by his cousin. This rock crystal intaglio, characterized by an exceptional limpidity, was originally mounted in a brooch designed by Marc Koven during the mid 20th century.The rock crystal has an engraved border around the scene and stylistic parallels to several similar Renaissance rock crystals & medals commissioned by the Medici family (particularly the Medici Vase in the Louvre and the famous Medici Chest in the Uffizi). The rock crystal has similar dimensions to valerio Belli's documented and attribuited works, corresponding closely in size to "Herakles between Minerva and Venus, inscribed Valerius VAF (4.7 cm by 3.8 cm), Mutius Scaevola inscribed CONSTANTIOR (4.7 cm by 3.7 cm). It has also a corresponding thickness (3 mm) to the oval rock crystal depicting a sacrifice scene in the British Museum and the rock crystal depictiong the Judgement of Paris in the V&A Museum, both attribuited to Valerio Belli. This rock crystal intaglio, although undocumented in the literature, has a number of clear parallels in works attributed to Valerio Belli in major texts on the 16th century engraver. The scene is typical of Medici coinage from the period, specifically Cavino’s posthumous medal of Giuliano II de’ Medici and is believed to be a depiction of the later assassinated Duke Alessandro de’ Medici. Some features, particularly the cippus with an attached bow and quiver of arrows parallel those identified in an intaglio of Herakles being crowned by Minerva, formerly in the collection of Peter Paul Rubens and later Baron Philip von Stosch, attribuited to Valerio Belli. The composition with a figure seatd in an elegant pose, with one or both legs outstretched, is common in many Belli's compositions. For comparisons: Tassie n. 7846. The intaglio is described in Tassie 7846 as: “*_________ __________ A young hero sitting without arms, with the statue of Victory in his left hand, before a cippus on which his arms are suspended. It may be called Achilles victorious, in his retirement. For such subjects see the article Achilles and Mars in repose.”; There are some minor differences between the rock crystal and the Tassie impression which appear to be the result of an incomplete transfer. It is very likely that Tassie did not identify the owner of the engraved gem or the material in his text because he did not take the impression of the gem, but rather received the impression from another collector or performed his impression from an unidentified impression. The absence of the intaglio border in the Tassie impression suggests the engraved gem was previously mounted in a brooch or pendant which covered the border when the original impression was performed. Two thin spears appear in the rock crystal version, it is only possible to see the traces of a thin line representing one spear in the Tassie impression. The shield also has an additional thin line in the rock crystal. Additionally, small pieces of hair which form the side-burns on the face of the figure are also not visible. Because these differences are very minor features and all other details appear consistent, it is very likely that this Tassie impression derives from the original rock crystal above Unsigned - Attributed - Valerio Belli, Seated Virtue with Fame and a Genius, oval bronze plaquette, 50 x 39mm (Lewis D. in Valerio Belli Vicentino (2000), p. 134, 100 – and also p. 331, 125; Bange 812; Warren, Ashmolean Museum Plaquettes, 243); Tassie 7853. Cornelian. King of France; Intaglio stamp depicting an offering to Victory - 1774 - Wedgwood and Bentley. Intaglios produced from this stamp listed as #300 in Wedgwood and Bentley's 1774 Catalogue. See: Donati and Casadio, Bronzi e Pietre Dure nelle Incisioni di Valerio Belli Vicentino; Vasari, Giorgio Lives of the Most Eminent Painters, Sculptors, and Architects, Volume 3. Howards Burns, MArco Collareta and Davude Gasparotto, Valerio Belli Vicentino 1468 c. - 1546; Nicholas Goodison, Matthew Boulton: Ormolu. Provenance: Acquired by Marc Koven (1903-1970), of Koven Freres who mounted the rock crystal into a modern setting circa late 1960s ; U.S. private collection, acquired on the art market. This lot is sold under temporary import status.
Lot 434
A NEOCLASSICAL CHALCEDONY INTAGLIO SIGNED J.S BRUN (1792-1860 CIRCA). ORESTES IN FURY. First half of 19th century26x31x7 mmThis scene, with some variations, is recordered in the Paoletti collection, inv.n°.MR27830 (see L. Pirzio Biroli Stefanelli, La collezione Paoletti, Rome, 2012, vol.VIII.I.n°2). Behind the groundline, the signature J.S. Brun. Joseph Silvestre Brun was a French gem engraver, student of François Lemot, François Jouffroy and Nicolas Augustin Matte. Brun was awarded the First Prize of Rome medal engraving in 1817 based upon a depiction of Androcles and the lion. He also executed a silvered bronze medal in 1825 to celebrate the coronation of Charles X of France in Reims.Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.
Lot 438
Michael Kors, three wallets and a wristlet clutch, to include a bronze patent leather wallet with MK perforated design, a large cream leather wallet with gold-tone front plaque, a light blue leather wallet, together with black leather wristlet clutch, lengths measure 17 to 25cm- Overall fair to good condition - Wear and discolouration to the edges of the cream and blue wallet - Scratches to metal hardware - Smudges and few scratches to the patent leather wallet - Marks to the wallet interiors - No obvious marks or wear to the black leather clutch - Without maker's dust bags or boxes - Condition reports are a guide only and clients are advised to view items before bidding - For enquiries about this lot please contact Sophie Higgs at sophie@kinghamsauctioneers.com
Lot 281
An 18th-century Chinese Porcelain Mug, applied with flowers, 13cm high, together with a soapstone and other carvings, two bronze RobinsMug - firing chip forming at the foot, elements of applique lacking, chip to the rim, multiple firing floorsCanton Mug - Large chip to the rim, wear to the paint and gildingPair of vases - Modern good conditionMatch Box Holder - Extensive repair and crazingSoap Stone carvings with multiple losses
Lot 53
Anton Van Wouw (1862-1945 Afrique du Sud) Miner with a Machine Drill 1926 signé, daté et situé sur le bronze au-dessus de la plaque 'A Van Wouw 1926 Johannesburg' inscrit sur une plaque de cuivre sur le devant du socle 'Presented to Her Royal Highness Princess Alice, countess of Athlone by the citizens of Johannesburg as a mark of esteem and appreciation. 27th October 1930' bronze sur socle de bois signed, dated and situated on the front of the bronze (above the copper plate) 'A Van Wouw 1926 Johannesburg' Inscribed on a copper plate on the front of the base 'Presented to Her Royal Highness Princess Alice, countess of Athlone by the citizens of Johannesburg as a mark of esteem and appreciation. 27th October 1930' bronze on wooden base Bronze : 72 x 45 cm (28 3/8 x 17 ¾ in.). Socle: 73.5 x 49 cm (28 ¾ x 19 5/16 in.). For further information on this lot please visit Bonhams.com
Lot 1
Three Anatolian marble idols Kusura-Beyecesultan Type, Early Bonze Age II, circa 2700-2300 B.C.5.4-7.3cm high (3)Footnotes:Provenance: with Gallery Serodine, Ascona, who stated the two larger ones were originally found together. Private collection, Switzerland, acquired from the above at TEFAF Basel, 6 November 1996, nos.6-8.For other Kusura-Beycesultan type abstract-schematic idols of slightly larger proportions, see J. Thimme, Art and Culture of the Cyclades, Chicago, 1977, p.386 and 560-561, nos. 513 and 515. Thimme suggests that the 'horn' head projection could represent a 'bound tuft of hair or possibly the attachment for a mask' (p. 560).Figures such as these could have had multiple functions, ranging from a substitute body, votive objects, or funerary gifts, to either protect the deceased or 'to mediate between the deceased and the deities (p.35).' For further discussion on the function of Anatolian idols see, D. Jansen-Buis and P. Venema, 'A Small Collection of Anatolian Stone and Terracotta Figurines of the Early Bronze Age in Amsterdam', Anatolica, No. XII, 1985, pp. 29-42.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
Lot 102
An Achaemenid black glass rod-formed square kohl tube Circa 5th-4th Century B.C.8.9cm high Footnotes:Provenance: London art market.Anonymous sale; Bonhams, London, 26 November 1997, lot 137. The Nico F. Bijnsdorp Collection (NFB 063), acquired from the above sale.For the type, see D. P. Barag, 'Rod-formed Kohl Tubes of the Mid. First Millennium B.C.', Journal of Glass Studies 17, 1975, pp.23-36, Barag Group IA, especially figs 6, 7, and 9. See also a similar example in the Corning Museum of Glass, S. Goldstein, Pre-Roman and Early Roman Glass in the Corning Museum of Glass, Corning, 1979, p. 106, no. 208. A cylindrical example in the Israel Museum, Jerusalem, still contains possible traces of black kohl, while another from Azerbaijan, formerly in the Erwin Öppenlander Collection, has a bronze applicator still stuck inside (cf. Y. Israeli, Ancient Glass in the Israel Museum. The Eliahu Dobbin Collection and Other Gifts, Jerusalem, 2003, p. 47, no. 20 and A. von Saldern et al., Glaser der Antike. Sammlung Erwin Öppenlander, Mainz am Rhein, 1974, p. 48, no. 105).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
Lot 152
A Roman blue-green glass bottle with bronze stopper and chain Circa 1st-2nd Century A.D.12.6cm high excl. stopperFootnotes:Provenance:Anonymous sale; Pierre Bergé, Paris, France, 17 June 2010, lot 316.The Nico F. Bijnsdorp Collection (NFB 259), acquired from the above sale.The shape of this bottle is more unusual than the aryballos form that is normally associated with a suspension chain and stopper.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
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349674 item(s)/page