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Lot 104
OTTO PETRI (Berlin 1860 - 1942), for Friederich Goldscheider."Young lady".Bust, Art Nouveau, Austria, 1904 .Patinated terracotta. Terracotta bust designed by Otto Petri for Goldscheider, of a young woman of fine beauty, with elegant features that denote a certain classical idealisation, although her restrained and emotive expressiveness is typical of the fin-de-siècle period. She has long hair, which she covers with a cape. It has a bronze patina, except for the face, which is of a whitish hue. On wooden corduroy lined with ochre-coloured cloth.Signed Petri, dated 904, with stamps and numbering on the reverse.Provenance: Spanish private collection, formed between 1970 and 2010.Good condition Normal wear and tear due to use and the passage of time.Measurements: 39 x 33 x 15 cm (bust); 2 x 36 x 18 cm (base).In 1885, the sculptor Friedrich Goldscheider left his native Pilsen and settled in Vienna, where he founded his own manufacture of terracotta pieces. He soon became one of the most influential artists in the fields of ceramics and bronze, with shops in Austria, Paris, Leipzig, Berlin and Florence. For more than half a century the Goldscheider firm, considered the finest modernist terracotta factory, created masterpieces of historicism, Art Nouveau and Art Deco. The founder was able to attract both acclaimed artists and young innovators to his factory, so that great ceramists of the time, such as W. Bosse, B. Geiger, J. Lorenzl, I. Meisinger and M. Powolny, among others, worked there. After Goldscheider's death, the factory was taken over by his widow Regina, who continued to produce her husband's models, together with new ones created by the artists who worked for the firm, such as D. Chiparus during the Art Deco period. Until its closure with the rise of National Socialism, the factory produced more than four thousand different models, both by Goldscheider himself and by other authors. From the very beginning, the factory won numerous awards, first prizes and gold medals at countless world fairs, exhibitions and trade fairs. Today its pieces are in great demand by collectors all over the world. They can now be admired in museums around the world, such as the Fine Arts Museum in San Francisco, the Metropolitan Museum in New York and the Minneapolis Institute of Arts. In 2007, Goldscheider's works were shown at the Vienna Museum and the following year at the LBI in New York.
Lot 105
ANTOINE GAULIN (Active in Paris from 1779 to 1830). Transitional Louis XVI-Imperial portico clock. France, late 18th-early 19th century.Belgian marble, white marble and gilt bronze.Signed Antonie Gaulin ("Gaulin à Paris").In need of overhaul and overhaul (by a watchmaker). The winding is missing. Normal wear and tear due to use and the passing of time.Watches signed by this watchmaker are kept in the collection of the Banco de España. This is a very diverse collection that includes paintings, drawings, sculptures and photographs, as well as a large number of pieces of particular value in the decorative arts.Measurements: 38 x 26 x 9 cm.Portico clock, Louis XVI-Imperial transition, made in France at the end of the 18th century, beginning of the 19th century. It is made in Belgian marble in lateral columns and upper pediment, white marble in capitals and column bases decorated with gilded bronze ornaments in its totality, base of the pendulum, dial, reliefs of columns and two zodiacal signs of Capricorn in the upper part. Half-hour and hour chimes. Porcelain dial with Arabic numerals and gilt hands, signed Gaulin a Paris. An anthropomorphic solar representation evoking Apollo decorates the pendulum.Antoine Gaulin is documented in Paris as a master watchmaker in 1788. He had a workshop at 36 Quai de la Mégisserie from 1789 to 1830. He is also mentioned in the Almanach du commerce de Paris, des départemens de l'empire français et des principales villes du monde, dated 1811. Gaulin collaborated with bronze artists of the stature of Thomire.
Lot 118
Clock; Genoese work, first quarter of the 18th century.Ebonised wood and bronze applications.It has French Jean Vaillaus machinery.Precise set up.Measurements: 70 x 46 x 17 cm.Table clock made of ebonised wood with a design based on an architectural structure. The piece is supported on eight gilded bronze chamfered ball legs, which give way to a moulded base with incoming and outgoing edges. This area is notable for the gilt-bronze appliqués that represent small cartouches, with the one in the centre standing out. The rectangular body is located in the upper area, flanked by two warped finials topped by pinnacles. The central area has a hinged door with glass, which allows a view of the inside of the piece where the clock face is located. Ornamented with reserved areas in the corners where a vegetal pattern can be seen, the centre is dominated by a dial in which black contrasts with gold, on which the Roman numerals are arranged. Finally, the piece ends with an upper cornice and a tympanum in the form of a split arch with a large crest.
Lot 135
EUSEBI ARNAU MASCORT (Barcelona, 1864 - 1933).Modernist chimney breast.Polychrome stucco.Provenance: Josep Puig i Cadafalch's house, Carrer Provença in Barcelona.Measurements: 110 x 24 x 30 cm.May form a set with lot 35047519.Lateral finial made by Eusebi Arnau for the Barcelona house of the architect Josep Puig i Cadafalch (1867-1956). It is a vertical relief with a flat base, entirely covered with figures worked in various levels of relief, some of them even approaching the round figure. It is a representation of a group of nymphs and fauns, embracing and playing, their bodies confused by Arnau's soft modernist forms.The sculptor Eusebi Arnau trained at the Barcelona School of Fine Arts and was a disciple of José Gamot. From 1887 he continued his studies in Rome, thanks to a scholarship from the La Lonja School. He later furthered his training at the Académie Julian in Paris, exhibiting his works at the Salon in the French capital in 1895 and 1902. He later opened his own studio in Barcelona, where he had pupils such as Pablo Gargallo and Josep Dunyach. Arnau carried out numerous commissions, such as the altarpiece for the basilica church of Santa Engracia in Saragossa, where he worked with Josep Llimona. On the other hand, his sculptures applied to architecture made him stand out as a modernist sculptor. Some examples are those made for the Lleó Morera and Amatller houses, the Hotel España, the Palau de la Música Catalana and the Hospital de Sant Pau, all in Barcelona. He was also a regular collaborator of the architect Enric Sagnier Villavecchia, with whom he worked on the Customs building at the Port of Barcelona, the Casa Ruper Garriga, the Via Crucis of Montserrat, the Expiatory Temple of the Sacred Heart, the parish church of the Sacred Heart in Poblenou, the Caixa de Pensions agency in Reus and other projects. He also excelled as a medallist, producing, among others, the medal for the 1888 Barcelona Universal Exhibition, the Catalan Solidarity medal, the Columbus Centenary medal and the medal commemorating the demolition of Barcelona's city walls. Throughout his life, Arnau took part in numerous exhibitions both in Spain and in Chicago, Mexico City and Paris. He was awarded a bronze medal at the Universal Exhibition in Barcelona in 1888, an honorary diploma at the Fine Arts Exhibition in the same city in 1891, and a prize at the 1896 Exhibition; an honourable mention for sculpture at the National Exhibition in Madrid in 1899, a first-class medal for decorative arts at the National Exhibition in 1908, a gold medal from the Artistic Circle of Barcelona at the International Art Exhibition in 1911, and a third-class medal at the National Exhibition in 1912. Today we can find public monuments by Arnau in Barcelona, Madrid and Villafranca, and other works by him in Barcelona, Comillas and Zaragoza. He is also represented in the National Art Museum of Catalonia.
Lot 136
EUSEBI ARNAU MASCORT (Barcelona, 1864 - 1933).Modernist chimney breast.Polychrome stucco.Provenance: Josep Puig i Cadafalch's house, Carrer Provença in Barcelona.Measurements: 110 x 24 x 30 cm.May form a set with lot 35047518.Lateral finial made by Eusebi Arnau for the Barcelona house of the architect Josep Puig i Cadafalch (1867-1956). It is a vertical relief with a flat base, entirely covered with figures and other motifs worked in various levels of relief, some of them even approaching the rounded bulk. It depicts a medieval princess being pursued by a dragon that appears crawling in the lower area, under the body of which the skull of one of its victims is visible. Between the two figures is that of a knight in armour and helmet, wielding a sharp sword with which he threatens the monster.The sculptor Eusebi Arnau trained at the Barcelona School of Fine Arts and was a pupil of José Gamot. From 1887 he continued his studies in Rome, thanks to a scholarship from the La Lonja School. He later furthered his training at the Académie Julian in Paris, exhibiting his works at the Salon in the French capital in 1895 and 1902. He later opened his own workshop in Barcelona, where he had pupils such as Pablo Gargallo and Josep Dunyach. Arnau carried out numerous commissions, such as the altarpiece for the basilica church of Santa Engracia in Saragossa, where he worked with Josep Llimona. On the other hand, his sculptures applied to architecture made him stand out as a modernist sculptor. Some examples are those made for the Lleó Morera and Amatller houses, the Hotel España, the Palau de la Música Catalana and the Hospital de Sant Pau, all in Barcelona. He was also a regular collaborator of the architect Enric Sagnier Villavecchia, with whom he worked on the Customs building at the Port of Barcelona, the Casa Ruper Garriga, the Via Crucis of Montserrat, the Expiatory Temple of the Sacred Heart, the parish church of the Sacred Heart in Poblenou, the Caixa de Pensions agency in Reus and other projects. He also excelled as a medallist, producing, among others, the medal for the Universal Exhibition of Barcelona in 1888, the Catalan Solidarity medal, the Columbus Centenary medal and the medal commemorating the demolition of Barcelona's city walls. Throughout his life, Arnau took part in numerous exhibitions both in Spain and in Chicago, Mexico City and Paris. He was awarded a bronze medal at the Universal Exhibition in Barcelona in 1888, an honorary diploma at the Fine Arts Exhibition in the same city in 1891, and a prize at the 1896 Exhibition; an honourable mention for sculpture at the National Exhibition in Madrid in 1899, a first-class medal for decorative arts at the National Exhibition in 1908, a gold medal from the Artistic Circle of Barcelona at the International Art Exhibition in 1911, and a third-class medal at the National Exhibition in 1912. Today we can find public monuments by Arnau in Barcelona, Madrid and Villafranca, and other works by him in Barcelona, Comillas and Zaragoza. He is also represented in the National Art Museum of Catalonia.
Lot 19
Lamp; Germany, ca. 1895.Biscuit porcelain and gilt bronze.Marks on the base.Measurements: 44 x 21 x 16 cm.Biscuit porcelain lamp. The piece has the signature E&A Müller on the base, which corresponds to the German porcelain factory Müller was located in Schwarza-Saalbahn, Thuringia, and was created by Carl Luis Christian Müller in 1890. The biscuit technique, which gives a matt and very white finish to the pieces, came into use in the mid-18th century, particularly in France at the Sèvres factory and in Italy at the Royal Factory of Capodimonte.
Lot 26
Neo-Gothic gas lamp, ca. 1880.Gilt bronze.Formerly gas, now electrified.Typical wear and tear of the period.Measurements: 85 (height) x 75 cm (diameter).Ceiling lamp with the structure entirely made of bronze. It has a central fluted shaft from which emerge three arms on whose knees there are openwork fleurons in a marked neo-Gothic style. These arms are in turn ornamented with masks. The lamp belongs to the 'neo' period, a historicist movement, mainly architectural and decorative, which arose at the end of the 19th century in Great Britain and which sought to recall ancient styles, in this case Gothic.
Lot 27
Gaudinian lamp, ca. 1910.Gilt bronze.With wear and tear typical of the period.Measurements: 95 x 70 cm (diameter).A lamp that follows the characteristics of Catalan modernism, specifically those established by the personality of Antonio Gaudí (Reus or Riudoms, Tarragona, 1852 - Barcelona, 1926), such as the soft, naturalistic forms that made the master from Reus the greatest exponent of Catalan and, therefore, Spanish modernism. As is usual in the purest modernism, the structure is not only hidden by the decoration, but is directly replaced by it: sculptures of dragons form the arms of the lamp and support the candlesticks. The piece culminates in the heraldic motif of the double-headed eagle and the coat of arms of Castile and León.The greatest representative of Catalan modernism, Gaudí is one of the most outstanding architects and decorators in European history. Even as a child he loved hiking and direct contact with nature. Having stood out as a child for his drawings, he studied architecture at the Llotja School and at the Barcelona School of Architecture, where he graduated in 1878. With his first major commission, the Casa Vicens, Gaudí began to make a name for himself and to attract increasingly important commissions. In 1878 he exhibited a showcase for the Comella glove shop at the Universal Exhibition in Paris. This piece, which was both modernist in design and functional, impressed the industrialist Eusebi Güell, a key figure in Gaudí's artistic biography from then on. In fact, Güell was not only Gaudí's great friend, but also his main patron, and commissioned some of his most outstanding works, such as the Parc Güell. In 1883 he accepted the commission to continue the work on the Sagrada Família; Gaudí completely modified the initial project, and this building became his masterpiece, on which he worked until the day he died. This project was followed by other important commissions, such as the episcopal palace of Astorga, the Batlló and Milá houses and the restoration of the cathedral of Palma de Mallorca. In 1910 the first exhibition dedicated to Gaudí was held at the Grand Palais in Paris. After his death, important retrospectives of the architect were held, including the one at the MOMA in New York, his first major international exhibition, which took place in 1957. Since the mid-20th century, Gaudí has been increasingly appreciated, culminating in the proclamation of several of his works as World Heritage Sites by UNESCO in 1984 (Park Güell, Güell Palace and Casa Milá) and 2005 (crypt and apse of the Sagrada Familia, the Vicens and Batlló houses and the crypt of the Colonia Güell). Gaudí's designs for furniture and decorative arts can now be admired in the Musée d'Orsay in Paris, the MOMA in New York, the National Gallery of Art in Washington D.C. and the National Art Museum of Catalonia, as well as in his House-Museum in Parc Güell.
Lot 30
Pair of early 20th century lamp feet.Patinated bronze.Measurements: 41 cm (sculpture) + 10 cm (base).Pair of ornamental sculptures conceived as lamp bases, cast in bronze, representing two warriors raising a light, that of the lamp, in the manner of victory. They are Herculean figures, with a Michelangeloesque heritage, which reveal the influence of 19th century realist sculpture in their conception.
Lot 53
FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914)."Fish".Bronze dish with cloisonné enamel.It shows losses and damage. Needs restoration.Measurements: 37 cm (total diameter).Francesc Vidal was one of the most outstanding decorative artists in the city of Barcelona at the end of the 19th century, for being one of the first professionals to promote craftsmanship in the heart of the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also responsible for other important projects such as the decoration of Mayor Rius i Taulet, several rooms in the Círculo del Liceo and also royal commissions such as the bedrooms in the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Works by Francesc Vidal are currently housed in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Deco.
Lot 73
Pair of candlesticks; Napoleon III, late 19th century.Gilt bronze.Slight marks of use.Measurements: 56 x 28 x 28 cm (x2).Pair of French candlesticks of Napoleon III period, entirely made in gilded metal, with a historicist design of classical inspiration, mainly inspired by the baroque of Louis XIV. It consists of a tripod base, of Empire heritage, with a central shaft. The structure of the shaft features classical vegetal motifs as well as imperial portraits. The shaft has four arms, with a central one at the top of the structure, which is presented at a higher level. Each light has a classical cup-shaped finish in harmony with the plant motifs, also of classical inspiration, very characteristic of the period.
Lot 84
EMMANUEL FONTAINE (Commercy, France, 1856-1935)"Soldier".Bronze sculpture.Signed E. Fontaine.Size: 67 x 36 x 27 cm (with base).Emmanuel Fontaine, is a French sculptor.Active in the Montparnasse district, he was a pupil of François Jouffroy, Alexandre Falguière, Antonin Mercié and Louis Noël at the École des beaux-arts de Paris. He exhibited medallions and busts at the Paris Salon from 1877 to 1882. His sculptures received different mentions over the years, the most important being: an honourable mention in 1887, a third class medal in 1893, a second class medal in 1896, a silver medal in 1900, and a first class medal in 1904.He was made a Knight of the Legion of Honour in 1910 and was classified out of competition in 1922.The bronze statue of his Monument to Jacques Boucher de Perthes, erected in the Place du Pilori in Abbeville in 1907 and unveiled in June 1908, was demolished by the German occupiers during the Second World War.Prisca Hazebrouck preserves in the work The Reclining Lovers, a bronze burial located in the cemetery of the Abbeville Chapel ("the most astonishing monument in the cemetery") and representing "lovers holding hands", side by side, drawn by Emmanuel Fontaine with expressive and peaceful features: "A barely sketched smile hovers on the lips of the young woman who turns her head slightly towards her husband". If it is established that the concession was bought in 1866 by the Abbevillois Adolphe Masse, the total absence of any mention of the burial for this site, the absence of any inscription on the burial, make it a monument where beauty is allied with mystery.
Lot 37
Amulet of the Ancient Egyptian God Khnum, Late Antique Egypt, 664-323 BC.Fayenza.Provenance: Private collection, Le Coudray, France.In good state of preservation.Measurements: 3.6 cm.Sculptural work, made in solid lost wax bronze, of one of the main deities of the Egyptian pantheon, the god Jnum, or Khnum. He has the appearance of a man with a ram's head and wavy horns, wearing a double crown or carrying a water jug (although these are not preserved). He is one of the oldest gods. He was the creator god of Elephantine. In Esna he was believed to have fashioned the primordial egg from which the sun rose at the beginning of the world. He was originally a god of water, the guardian of the sources of the Nile, which for the Egyptians was the same as guarding the source of life; or of the flood of the Nile and, as such, he was depicted with water flowing from his hands and carrying a pitcher on his head and was given the title "Lord of the waterfall" and the name Qebh. He was also the guardian god of the waters of the nether world and bears the title "The Lord of the Beyond". He was the potter god who moulded the person, creating at the same time his ka, at the moment of his birth, so he was called "The Father of Fathers and the Mother of Mothers". His name literally means "the moulder". Jnum built the material universe together with Ptah and under the guidance and direction of Thoth. According to a legend, Jnum originally created each man on his potter's wheel, but at one point he grew tired of making it turn and turn and broke his wheel and placed a part of it in each female, so that from then on all things could reproduce without his intervention. He was part of the triad of Esna, together with Satis and Neith, and of the triad of Elephantine, as husband of Satis and father of Anukis, although in the Late Epoch it was Neith and Heka who formed a triad with him. He had various forms: Jnum Nehep (the creator), Jnum Jenti-Taui (the ruler of the two lands), Jnum Sejet ashsep-f (he who weaves his light), Jnum Jenti per-anj (ruler of the House of Life), Jnum Neb-ta-anjtet (Lord of the Land of Life), Jnum Jenti netchemtchem anjet (Ruler of the House of Sweet Life), Jnum Neb (Lord). He is often identified with Amun, as Amun Jnum Jnum, to whom the Greeks gave the name Zeus Ammon and the Romans Jupiter Ammon. His main sanctuaries were at Esna and Elephantine, as he was the god of the sources of the Nile. He was also worshipped at Hypselis, Antinoe and Phyle.
Lot 40
Sword blade; Iberian culture, 5th-6th century.Bronze.Measurements: 41 x 4 x 1 cm.Bronze sword blade from the Iberian culture. Iberian society was strongly hierarchical, with the warrior and noble class being the highest. The priestly class competed with it in power, and the craftsmen were also well regarded. Among the neighbouring peoples, and especially among the Greeks, the Iberian warriors were particularly admired, since they fearlessly threw themselves into combat and resisted fighting without retreat until death, even when the battle was already decided against them. In fact, the Greeks even hired Iberian mercenaries for their own wars.
Lot 48
Dagger; Iberian Culture, Iberian Culture, 5th - 6th centuries.Bronze.It shows signs of damage caused by the passage of time.Measurements: 28 x 4 x 2 cm.Bronze dagger with slight damage caused by the passage of time, especially visible on the blade. The hilt has a very characteristic ornamental design, decorated with spirals, a very common motif in Iberian aesthetics. Iberian society was strongly hierarchical, with the warrior and noble classes being the highest. The priestly class competed with it in power, and artisans were also well regarded. Among the neighbouring peoples, and especially among the Greeks, the Iberian warriors were particularly admired, since they fearlessly threw themselves into combat and resisted fighting without retreat until death, even when the battle was already decided against them. In fact, the Greeks even hired Iberian mercenaries for their own wars.
Lot 49
Ancient Egyptian god Osiris, Late Antique, 664-323 BC.Bronze.Provenance: Private Spanish collection.In good state of preservation. It presents a lack in the lower part at the back of the sculpture.Measurements: 13.2 cm (height).Round statuette representing the God Osiris carrying the Heka and the Nekhakha. The god is standing, with his arms crossed over his chest and a series of characteristic elements, such as the Atef crown (a more complex typology of the white crown which is made up of two ostrich feathers, sometimes with two horns at its base, uraeus and a solar disc. It is depicted in yellow and was thought to help the deceased to be reborn, an attribute for which it is carried by the god Osiris). The piece also has its arms crossed over its chest, with which it holds the whip and the callado, which are two of its main iconographic symbols. Osiris is the Egyptian god of resurrection, associated with the fertility and regeneration of the Nile, protector of vegetation and agriculture. He also presides over the court of judgement of the dead, and is in fact closely associated with the Afterlife. He was considered the first-born son of Geb, divinity of the earth, and the goddess Nut, representation of the sky. He was therefore the brother and husband of Isis, with whom he had a posthumous son, Horus. We find him for the first time in the sources of the 5th Dynasty, although it is most likely that he was worshipped much earlier. In fact, we find the epithet Khenti-Amentiu ("leader of the Orientals", alluding to his role as king of the Beyond) already used in the 1st Dynasty, both in relation to divinity and as a pharaonic title. The most valuable information about Osiris is found in the Pyramid Texts of the late 5th Dynasty, the Shabaka Stone of the New Empire and, much later, in the texts of Greek writers such as Plutarch and Diodorus.
Lot 60
Dagger; Rome, Imperial period, 1st-2nd century AD.Bronze and iron.It has rust and wear caused by the passage of time.Measurements: 19 x 4 x 1.5 cm.Roman bronze dagger made of bronze with a wide, flat blade, with a hilt decorated with mouldings and details in relief. This ornamental presence, defined by the head that is outlined in the central area of the hilt and the motifs located in the circular top of the upper area, indicate that the work probably belonged to a private collection, with no direct link to the military world. The Romans were the ones who, as a culture, contributed a great deal in terms of weaponry. Their policy of conquest and invasion of territories gave rise to the development of a whole range of weapons in which they stood out for their refined technique, thus achieving lighter, more versatile and effective weapons. Although it is not a piece intended for use in war, its finish denotes the aforementioned knowledge of Roman culture in the creation of weapons. This type of piece was very common in the Roman Empire, but also in other cultures that, directly or indirectly, had contact with them.
Lot 71
Etruscan mirror, 4th century BC.Bronze.Provenance: Private Swiss collection from the late 1960s.With repairs.Measurements: 23 x 11 x 11 cm.Etruscan mirror with the image of two carved figures in the central part. Hand mirrors were very common objects in Egyptian, Greek, Etruscan and Roman civilisations. They were fitted with a handle to make them easy to hold in one hand and consisted of a disc of burnished metal (usually copper, silver or bronze), which gave a fairly good reflective effect. Etruscan mirrors were often decorated on the back with scenes taken from mythology or everyday life, engraved on their surface. Occasionally, reliefs can be found instead of engravings.The Etruscan culture was already surrounded by an aura of mystery in antiquity; even their Greek contemporaries were intrigued by the sudden emergence of this people as a maritime and commercial power, by this ancient people who, according to Dionysius of Halicarnassus, "resemble no other in their language and customs". While some consider them to be the people who gave rise to the Roman Empire, there are other experts who place more emphasis on the differences between the two peoples and consider them to be mere neighbours or "conqueror and conquered", depending on the period in which one speaks, recognising a strong influence of some elements of Etruscan culture and art observed in the Romans.
Lot 91
Ushebti for Pharaoh Psusenes I, Ancient Egypt, Third Intermediate Period, 21st Dynasty, reign of Psusenes I, c. 1039-991 BC.Bronze.Provenance: Royal trousseau from the tomb of Pharaoh Psusenes I at Tanis, Egypt. Discovered in 1940 by Pierre Montet; Private collection, Uccle, Belgium.Intact.On the body there is a vertical register of hieroglyphic writing. This inscription translates: 'The Osiris, king Pasebajaenniut-meryamon (The star that appears in the city of Thebes, beloved of Amun-Psusenes I).Measurements: 7.5 cm (height).This ushebti is remarkable for the fine and delicate work of the craftsman, who has outlined the legend on its body with great precision. The legend, written in hieroglyphic script, refers to the pharaoh Psusenes.The ushebtis, an Egyptian term meaning 'those who answer', are small statuettes that were placed in tombs in ancient Egypt as part of the grave goods of the deceased, and whose function was to replace him in the work he was to perform in the afterlife. Most were made of ceramic, wood or stone, although in the richest tombs they could be found carved in lapis lazuli. The oldest surviving examples come from the Middle Kingdom, although references to them can be found in texts from the end of the Old Kingdom. After the sacred scarabs, ushebtis are the most numerous and possibly the most characteristic pieces of Egyptian art that have survived to the present day. Throughout the ages they have always had the same function in the religious sphere, but while during the Middle Kingdom they were conceived as a representation of their owner before Osiris in the work of tilling the kingdom of the shadows, replicas of the deceased, from the New Kingdom onwards they came to be seen as his servants or slaves, and were produced in large numbers.
Lot 218
A wooden sarcophagus shape tea caddy, applied brass floral motif to lid, on four bun feet, 12x19cm; a bronze model of a dog; a figure of Napoleon on horseback at Waterloo; three painted figures of late 19th and early 20th century soldiers; a resin model of St George and the Dragon; a barometer; and other collectables.Qty: 1 box
Lot 275
A lucky rabbit's foot, yellow metal mount and pin, marked 15ct; some scrap yellow metal pieces; two other metal mounted rabbits' feet; a silver gilt Scientific Lodge No. 88 jewel, with ribbon and applied 150th anniversary badge; a small silver Poetry Society medal; a niello brooch, marked Siam Silver; silver T-bar; envelope charm; earrings; other charms; bronze and other metal medals; buttons; US five cents coin, 1937; an Isaac Newton token, 1791; and other small items.Condition report:The mount on the largest paw is inscribed "B.O.H April 19th 1898". The mount on the other paw is engraved with thistles but no text.
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