7th-19th century A.D. Comprising: a cross buckle with pin; the upper plate of a small enkolpion with a praying Virgin or Saint; two orthodox pectoral crosses, both with inscription 'IC' (Iesus) 'XC' (Christos ) 'NIKA' (Christ is victorious); the smallest cross with invocation-prayer engraved on the back. Cf. Schulze-Dörrlamm, M., Byzantinische Gürtelschnallen und Gürtelbeschläge im Römisch-Germanischen Zentralmuseum. Teil 2. Die Schnallen mit Scharnierbeschläg und Schnallen mit angegossenem Riemendurchzug des 7. bis 10. Jahrhunderts, Mainz, 2009, pp.9ff, fig.227. 51.8 grams total, 36-73 mm (1 3/8 - 2 7/8 in.). Acquired on the UK art market. Property of a Ruislip, UK, gentleman, by inheritance.The fragment of the simpler Maltese cross mount corresponds to the type E2 of Schulze-Dörrlamm, here with straight arms with rounded corners. It resembles the cross-shaped hinge fittings of the belt buckles from Herrera de Pisuerga and tomb 9 from El Tesorillo from Visigoth Spain, two bronze fittings from Lusitania and the buckle with busts of saints and the Greek inscription 'Light and Life' from Korbous in Tunisia. These kind of buckles were also found in male warrior graves. [4, No Reserve]
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15th century A.D. or earlier. Restrung; composed of annular and biconvex carnelian beads, together with a bronze Christian cross with the Five Wounds of Christ represented as ring-and-dot ornament. 4.28 grams, 18 cm long (7 1/8 in.). Acquired 1980-2015. Ex Abelita family collection. [No Reserve]
6th-7th century A.D. With remains of notch detailing to the outer edges of the arms, two links of the suspension chain. Cf. Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, item 555, for type. 2.58 grams, 38 mm (1 1/2 in.). Ex DRG Coins and Antiquities, Essex, UK. Ex private Merseyside, UK, collection.The example of a bronze cross corresponds, in shape and style, to a typology also known in organic material, specifically in wood. Dating this typology is difficult, as it is not easy to identify its place of origin or the context with which these crosses were associated. [No Reserve]
Late 4th century B.C. Comprising a round pedestal supporting four small offering pots, interspersed with four female face protomes; looped handle to the centre with parallel strokes in low-relief. Cf. Miše, M., Gnathia and related Hellenistic Ware on the East Adriatic Coast, Oxford, 2015, fig.5, p.45, for similar. 623 grams, 16 cm high (6 1/4 in.). From the West German collection of H.W. Acquired from the De Mynter, Belgium, in 2011. with Gorny and Mosch, Munich, 3 June 2017, no.52. Private Portuguese R.M. collection. Accompanied by a previous catalogue information slip.The kernos can be recognised by a series of small cups on the lip, with examples dating back to the Bronze Age. It was used to store offerings made to the gods, specifically in cults pertaining to Demeter and Persephone. The receptacles probably contained foodstuffs, or perhaps flowers, and a lamp was sometimes placed in the centre. Kernoses, such as this, were often carried in processions at the Eleusinian Mysteries (secret initiation rites celebrating the goddesses Demeter and Persephone) and were an important object for Greek religious life. Kernoses are thus closely related to the agrarian cult and to the myth of Persephone and Demeter, the goddess of fertility and agriculture. The myth is recounted in an Homeric Hymn (c. 650 B.C.) according to which Persephone, Demeter’s daughter, was seized by Hades, the king of the underworld, who brought her to his kingdom to make her his wife. Distraught, Demeter caused a terrible drought, which continued until Persephone returned to her mother from the underworld. Having consumed pomegranate seeds whilst she was in the Underworld, she was only able to be with her for a few months of the year. [A video of this lot is available to view on Timeline Auctions Website]
A LATE VICTORIAN GOLD AND BRONZE PAINTED MIRROR LATE 19TH CENTURY The arched plate within a gadrooned, foliate and C-scroll border with flowerhead clasps and baskets of flowers 76cm high, 158cm wide Condition Report: Some damages and repairs to carved frame. Losses to foliage on left hand side. Some opening up of joints and bruising to plate lower edge centre. Silvering to reverse of plate, beginning to go round edge of frame.Condition Report Disclaimer
A GEORGE III ORMOLU-MOUNTED MAHOGANY SERPENTINE COMMODE ATTRIBUTED TO JOHN COBB, MID 18TH CENTURY With a moulded top above three graduated long drawers, the top drawer formerly fitted, the apron to the bottom drawer carved with foliage, C-scrolls and rockwork, the keeled foliate-carved angles surmounted by female terms with rocaille collars and gadrooned borders, acanthus and lapped lambrequins, and with hairy hoof sabots, the drawers with concave quarter-filets the legs cut down by about 8cm 75cm high, 126cm wide, 61cm deep Provenance: H. Percy Dean, Esq Acquired January 1910, 'An Antique Chippendale commode from the Collection of Dr Deane, illustrated in Macquiod's "Age of Mahogany" plate X'.Literature: P. MacQuoid, The Age of Mahogany, London, 1906, plate X. L. Wood, Catalogue of Commodes, London, 1994, p. 52 The commode, of elegant serpentine outline and enriched with bronze female terms to the angles is conceived in the `Picturesque' French antique manner introduced and promoted by Thomas Chippendale (d.1779) with the publication of the first edition of The Gentleman and Cabinet-Maker's Director (1754). It was almost certainly executed by John Cobb (d.1778), Chippendale's close neighbour with premises in St Martin's Lane, both of whom were highly aware of prevailing French designs. Cobb, with his partner William Vile (d.1767), held a Royal warrant from 1761 - 64 as `Cabinet makers and Upholsterers to His Majesty King George III' to supply furniture under the direction of the Great Wardrobe to St. James's Palace and The Queen's House (now Buckingham Palace). In partnership with Vile and in his early years as an independent craftsman after 1764, Cobb made mainly plain furniture in mahogany, rosewood, padouk and sabicu, but later in his career he became renowned for marquetry work, the pinnacle of which included the satinwood commode and matching pedestals supplied in 1772 - 74 to Paul Methuen for Corsham Court, Wiltshire. The commode offered here, probably executed after 1764 relates to a pair of mahogany commodes from Blickling Hall, Norfolk, and another sabicu and padouk commode at Alscot Park, Warwickshire, by Cobb, that date from the mid-1760s and for which bills exist. These and other related commodes are analysed in detail in Lucy Wood, Catalogue of Commodes, London, 1994, pp.43 - 53. A comparable commode was in the collection of Sir Archibald Edmonstone, Bt., sold at Christie's, London, 27 March 1958, lot 82, and Wood notes similarity in the distinctive carved apron on the commode offered here with another sold by Mrs Venetia Gairdner, Lawrence Fine Art, Crewkerne, 19 February 1981, lot 215, and another from the Untermyer Collection in the Metropolitan Museum of Art (accession no. 64.101.1142). According to the literature, the commode appears to be one of a pair, or two almost identical. While the lot offered here was illustrated by Percy Macquoid in The Age of Mahogany, London, 1906, pl. X, correctly credited to Percy Dean, its counterpart, which retained its original longer legs, was later illustrated in an article by Herbert Cescinsky, `The collection of the Hon. Sir John Ward, K.C.V.O.', part IV, Connoisseur, August 1921, pp. 195 - 7, fig. III (and Macquoid later muddled the two commodes in his Dictionary of English Furniture, rev. ed, 1953, vol. II, p. 114, fig. 10, illustrating the Ward commode but crediting it to Percy Dean). Related commodes attributed to Cobb sold at auction include two from the collection of Lord & Lady Weinstock, Christie's, London, 22 November 2022, lot 89 (of three long drawers, the bottom drawer displaying similar carving and with carved angles and feet) and lot 94 (of two short and two long drawers, with a shaped but not carved rail below the bottom drawer, but with the same ormolu angle mounts and sabots). Condition Report: Overall in good clean condition, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. It appears to be in essentially the same condition as when illustrated by Macquoid (in Age of Mahogany) in 1906. As noted the legs have been shortened and the brass sabots reattached, certainly by 8cm, probably in fact rather more. There is some black stain over and around the drawer edges and the carving, notably to the apron. The metalwork is in good condition and apparently all original, apparently oil gilt and then lacquered. The top drawer originally fitted with divisions now removed, as a fitted drawer it is entirely mahogany-lined. The back legs with later-fitted filets of wood, approx' 30cm in length, presumably by way of repair. The two lower drawers oak lined and with Cobb's characteristic concave quarter filets.For comparison, see (1) the very closely related commode illustrated in Macquoid (Dictionary of English Furniture), possibly the pair to the present lot (2) a commode attributed to Cobb with the same carved apron but without ormolu mounts and with simpler handle pattern sold Christie's, London 22 Nov' lot 89 (£94,500 including premium) (3) another almost identical to the last sold Christie's, New York 19 April 2001 ($446,000) and (4) another of less flamboyant form and lacking corner mounts and sabots, sold Christie's, London 4 July 2019, lot 106 (£137,500). Condition Report Disclaimer
λ SIR JACOB EPSTEIN (AMERICAN/BRITISH 1880-1959) BABY ASLEEP Bronze Stamped with the foundry mark Cire Perdue A.A. Hebrard (on the back of the neck) Height (excluding base): 13cm (5 in.)Conceived in 1902-04.Provenance: Thomas Agnew & Sons Ltd., London Acquired from the above by the family of the present owner, 18th February 1987Literature: Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, no.3 (illustration of another cast)
λ OLIFFE RICHMOND (AUSTRALIAN 1919-1977) SUN Bronze Signed with initials (on the base) Height (including base): 18cm (7 in.) Conceived in 1965 in an edition of six.Provenance: Hamilton Galleries, London The New Art Centre, London Acquired from the above by the family of the present owners, June 1986Exhibited: London, Hamilton Galleries, Recent Sculpture, October 1965, no. 16 Condition Report: There is some white paint residue to the back edge of the base. Some surface dirt and verdigris, especially to the underside. Otherwise, in good original condition.Condition Report Disclaimer
A DUTCH BRONZE MORTAR AFTER HEINRICK TER HORST 20TH CENTURY Cast with a band of foliage with putti and vases, inscribed in raised lettering 'HEINRICK. TER. HORST. ME. FECIT. ANNO. 1607' 14cm high Saleroom Notice: The description has been amended and differs from the printed catalogue Condition Report: Saleroom Notice: The description has been amended and differs from the printed catalogue A DUTCH BRONZE MORTAR AFTER HEINRICK TER HORST 20TH CENTURY With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Green verdigris internally and scattered spots externally. Paler patination to handles and base edges- base with contact wear, casting flaw to base edge 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. All 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. 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 description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. 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
λ  DAVID WYNNE (BRITISH 1926-2014) EGG FIGURE Bronze Signed with monogram and dated 1961 (to back) 11.5 x 11.5cm (4½ x 4½ in.)Conceived in 1961 in an edition of 8.Provenance: Thomas Agnew & Sons Ltd., London Acquired from the above by the family of the present owners, 14th March 1985Literature: T.S.R. Boase (ed.), The Sculpture of David Wynne 1949-1967, London, 1968, p. 155 Condition Report: Apart from some verdigris to the deep crevasses, this work is in good original condition.Condition Report Disclaimer
A French gilt-bronze mantel clock, Early 19th century, The case surmounted by a flowering urn and supported on a fluted Corinthian column, with the Three Graces holding floral swags on a tulip base with recessed sides and foliate ormolu mounts on bun feet, the white enamel dial with Roman and Arabic numerals, signed Ragot A PARIS, the twin train eight day movement possibly associated, with outside countweel and coup perdu escapement striking on a bell, 80cm highPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece.
A pair of French gilt-bronze and cobalt blue glass candlesticks, Of Louis XVI style, late 19th century, Each modelled as an urn issuing rose branches surmounted with single sconce, the urn with four tapering fluted foliate handles on acanthus support above laurel wreath on a square base, 39cm high (2)
A Continental gilt-bronze mounted porcelain purple-ground hexagonal pot-pourri jar and domed cover, Possibly Samson, second half 19th century, Each side centred by a pierced turquoise fretwork shaped-rectangular panel, the ground painted with black rosette and square ornament and reserved with stylised two-handled jars and ogival lobed panels with flowers, on a hexagonal gilt-bronze mount with scrolling feet, the neck with a foliate-scroll mount with pierced apertures, the cover mounted with a rococo-scroll gilt-bronze finial, 40.5cm high overall
A pair of French gilt-bronze figural candlesticks,In the manner of Corneille van Cleve, late 19th century,One modelled with a seated and draped male figure holding a cornucopia, the other with a female figure holding a foliate and ribbon-tied floral cornucopia, with shaped drip-pan and urn socket, above a gadrooned spreading base with entrelac and rosette border, 33.6cm high (2) Provenance: Purchased from Kraemer, Paris, 1950s. Footnotes:Note: These candlesticks are a variant of the celebrated model by Corneille van Clève (1646-1732). The original drawings were once originally attributed to Charles Le Brun (1619-1690) but are now thought to be by van Clève and are held in the Staatliche Museen zu Berlin. The strapwork and entrelac bases of these candlesticks are identical to those on a pair of early 18th Century candlesticks in the Wallace Collection, illustrated in F.J.B. Watson, Wallace Collection Catalogues, Furniture, London, 1956, pl. 20, F22.
A collection of objects of vertu and silver, Comprising: an early Edwardian silver rattle, Birmingham, 1901, Cornelius Desormeaux Saunders & James Francis Hollings Shepherd, with bells dependent and a mother of pearl hoop, 10.2cm long; a small silver pill box in the form of a book, London import marks, 1960, J R & Co., 3.3cm, 3.9cm wide; a small silver pill box designed with shilling coins to lid and base, Birmingham, date letter indistinct, S. J. Rose & Son, 2.4cm diameter; a modern Lalique model of seated cherub, signed Lalique France to base, 7cm high; a Halcyon Days enamel trinket box inscribed Love and congratulations, 5.2cm wide; a Staffordshire enamel trinket box inscribed Grow old along with me, The best is yet to be., 4.4cm wide; a pair of bronze mice, 6.1cm wide; a gilt-brass mounted lapis lazuli reliquary of St Christopher, 5.7cm high, 4.2cm wide; a small circular cloisonné enamel box and cover, 5cm diameter; and others (lot) Condition Report: Gross weight of silver approx. 2.9ozt
A French gilt-bronze candlestick converted to a lamp, In the style of Juste-Aurèle Meissonier, French, 1695-1750, late 19th century, The spirally-cast stem with asymmetrical C-scrolls, the base with flowers and rocaille, later adapted with woven shade, 45cm high excl. fitmentIt is the buyer's responsibility to ensure that electrical items are professionally rewired for use. Footnotes: Note: The lively and sinuous model for this candlestick was the work of Juste-Aurèle Meissonnier, one of the leading Rococo designers. Born in Turin, Meissonier moved to Paris in 1715 and rapidly gained a reputation as a prominent tastemaker in the rocaille style. In 1726 Meissonnier was named dessinateur to the king, which provided him with a sizable income until his death and positioned him to influence taste at the French court.
After Claude Michel, called Clodion, French, 1738-1814, a French bronze group of a Bacchante and Satyr, Late 19th century,The female figure riding on the shoulders of a satyr while holding a thyrsus aloft, with cast signature CLODION, on an associated circular verde antico marble base, bronze - 38cm high, overall - 40.5cm high
A French bronze model of the Dancing Faun, After the Antique, late 19th century, Holding a cymbal in each hand and pumping a scabellum with his right foot, on a rectangular base, 30.5cm high Footnotes: Note: The Dancing Faun or Faun with the Clappers, was housed in the Tribuna of the Uffizi and was considered to be one of the most beautiful marble sculptures remaining from antiquity. It is not known precisely when the ancient marble reached Florence, or indeed where or when it was originally excavated, but it swiftly established itself in the popular imagination, and enjoys a prominent situation in Zoffany's celebrated painting of the Tribuna of the Uffizi in the Royal Collection.
A pair of French gilt-bronze twin-light wall appliques, Of Louis XVI style, first half 20th century, Each with a ribbon-tie and swag backplate supporting a pair of fluted branches, the backplates - 77cm high (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.Condition Report: Good overall condition with only minor wear. One appliques has a small loss/cast fault at the top edge. The wires run inside the branches and a qualified electrician should examine the lot before use.
A French bronze model of the Dying Gaul, After the Antique, late 19th century, Depicted slumped on his shield holding his right leg and with a sword puncture wound to his chest, beside him lays his belt, trumpet and sword with lion-head hilt, on a later oval black marble base, bronze - 17cm high, 33cm wide, 15cm deep; overall - 21cm high, 36cm wide, 17.8cm deep Footnotes: Note: The Dying Gaul has been referred to as the Dying Galatian and the Dying Gladiator throughout history. A Roman marble sculpture in the Capitoline Museum is itself a copy of a bronze sculpture thought to have been commissioned by Attalus I of Pergamon in 230-220 BC to celebrate his victory over the Galatians. The marble was found in the excavations of Villa Ludovisi, Rome and was first recorded in archives in 1623.
A pair of French gilt-bronze twin-light wall appliques, Of Louis XVI style, late 19th century, Each with a ribbon-tied backplate issuing branches entwined with leaves and flower buds, the backplates - 57cm high (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.
A pair of French bronze models of the Belvedere Antinous and Bacchus, After the Antique, late 18th / early 19th century, Each depicted standing with tree trunk behind, mounted on ormolu bases with scrolls and foliage, 44cm high, 18cm wide, 19cm deep (2)Footnotes: Note: The antique marble statue of Antinous Belvedere was first mentioned in 1543 when Pope Paul III purchased it for the Belvedere garden. It quickly became highly admired and was subsequently copied in many materials throughout the following centuries.
A pair of French bronze figural groups of children taunting a swan,In the manner of Clodion, late 19th century, Each with three young figures grappling with the struggling birds on naturalistic base, on gilt-bronze mounted siena marble base, overall - 26cm high, 26.3cm wide, 21.6cm deep and 28cm high, 26.3cm wide, 21.6cm deep (2)
An Italian bronze group of Pan and Apollo, After the Antique, 19th century, The figures shown seated on a plinth, 34cm high, 19cm wide, 13cm deepLiterature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, New Haven and London, 1981, pp. 286-8, fig. 151.Footnotes: Note: The present group, traditionally identified as Pan and Apollo, is a reduction of one of the most celebrated ancient marbles, of which the best known version is in the Museo delle Terme in Rome (Haskell and Penny, loc. cit.). It and another, formerly in the Farnese Collection and now in the Museo Nazionale in Naples, were both recorded as early as the mid-sixteenth century, and inspired numerous amorous adaptations.
A Paduan bronze inkwell, 16th century, With four infants supporting a lidded vase, on a square section base raised on paw feet, 23.5cm high, 18.5cm wide, 15.5cm deepFootnotes: Note: The style and casting of the present lot points to Padua's late Renaissance bronze production. The four infants or putti in particular recall the work of Niccolo Roccatagliata (1593-1636).
After Edme Dumont, French, 1761-1844, a French bronze model of Milo of Croton, Mid-19th century, The figure shown splitting a tree trunk, on a rouge griotte marble plinth, 42.5cm high overall, 21cm wide, 22cm deepFootnotes: Note: Milo of Croton was a legendary athlete of the 6th century B.C. whose pride in his own strength caused him to attempt to wrench an oak tree apart with his bare hands. The original marble version is now in the Louvre, Paris.
A pair of French bronze models of the Apollo Belvedere and Diana the Huntress,After the Antique, second half 19th century,The rotating bases on breccia and black marble plinths, the bronzes - 49cm and 50cm; overall - 60cm and 61cm high; together with a pair of gilt-bronze mounted variegated marble pedestal columns, late 19th century, displayed inverted with the foliate capitals as bases, later plateaux, 67cm high (4)
A pair of Italian gilt-bronze models of Furietti Centaurs, After the Antique, second half 18th century, The first depicting a bearded figure with arms bound behind his back, the second depicting a youth raised in celebration, on a modern plinth, the front foot of one centaur is broken and detached, 52.5cm and 45.5cm high (2)Literature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, London, 1981, pp.178-179, figs. 91 and 92.Footnotes: Note: The original marble versions of these bronzes were discovered during excavations in 1736 by Monsignor Furietti at Hadrian's Villa. Their decorative qualities offered copyists great possibilities for production in small-scale bronzes. Thus the latter part of the 18th century and the start of the 19th saw them produced in large numbers, both as miniature bronzes and life-size marble and plaster versions.The desirability of the originals was so great that in 1763 Pope Benedict XIV offered Furietti a Cardinal's hat for them, while in 1765 the English offered vast sums before they were finally secured by the Capitoline Museum, Rome, where they are currently housed (Haskell and Penny, loc.cit.).
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