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Lot 755
W.I BROADWAY & CO; near pair of Elizabeth II hallmarked silver mounted clear cut glass trumpet vases with loaded bases, Birmingham 1975, and a further similar example, height 25cm, Birmingham 1998, and a squat candle stick, also a German silver collared bottle decanter and a pewter circular plaque depicting bust of Paul Von Hindenburg, diameter 11.5cm (6).
Lot 392
A Bohemian clear and white glass vase, with gilt foliate decorated body and oval enamel panels painted with the bust of a young lady and floral posy, height 18cm, a Latticino dish, a further example mounted on ebonised foot, a drinking glass with flared swirled gold stone bowl twisted stem and coiled foot, a milk glass over painted posy vase and a clear moulded and cut tazza with ruby rim (6).
Lot 550
A Peggy Davies ceramic sculpture of three otters, a Royal Belvedere figure of two flamingos, Capodimonte figures comprising a figure group of two elderly gentlemen playing bowls, a bust of a gentleman with a handkerchief hat, a dog with a butterfly on its head and a female figure with a whippet (af). CONDITION REPORT: The figure with the men playing bowls one gentleman has his little finger broken off otherwise looks to be in good condition. Whippet missing tail, broken off
Lot 384
An Emma Somerset floral silk cocktail dress with shoestring straps, a black lace beaded bust liner running down the side of the dress into a kick pleat, which falls into a black tulle spotted net underskirt, fully lined, together with a cotton full skirted black and white check, boned dress with white net underskirt, 1950s style, made by the Pretty Dress Company
Lot 11A
Ancient Egypt, Romano-Egyptian Period, ca. 1st century BCE to 1st century CE. A stunning large plaster bust of a young man, painted brightly; he wears a well-depicted chiton/tunica painted a dark red; above that, his face is sensitive, with the huge eyes so characteristic of Egyptian art, a long, straight nose, and a small mouth. His hair is black, with a low hairline, and pulled back in tight lines. Comes with custom stand. Size: 14" W x 15.75" H (35.6 cm x 40 cm)This piece was created for a funerary monument, designed to be placed up against a surface (the back is neither painted nor sculpted). Made of plaster, this type of monument, similar to a mummy mask, was reserved for elites. They also represented a dramatic change, departing from centuries of tradition. For the first time in the Roman period, Egyptian mummies were buried with lifelike representations rather than the mummiform masks seen in previous periods. To the Roman viewer, this piece may also have had similarities to gods like Apollo - an idealized image of the young man in death, created at great expense to memorialize him and for those who mourned him. Provenance: Ex-Hagar Collection, Ex-private North Carolina collection acquired in the 1980's Condition: Nose has been repaired; loss to upper left ear/hair as shown. Much pigment remaining. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119256
Lot 18
Ancient Greece, Hellenistic, ca. 323 to 31 CE. A mold-pressed terracotta roundel depicting the bust of a classical deity in relief, possibly Athena (Minerva), the goddess of war and wisdom surrounded by a pectoral of scale armor; however, also possibly representing the visage of the beautiful young male Apollo, god of music, poetry, art, sun, light, and knowledge surrounded by a wreath of radiating laurel leaves arranged like the glorious rays of the sun. What a beauty! Custom stand. Size: 7.25" in diameter (18.4 cm); 8.5" H (21.6 cm) on stand Provenance: Ex- Private Orange County, CA collection Condition: Twin perforations at top for former suspension, possibly for use as a phalera (ornament for a horse's headstall). Normal surface wear with some roughness to peripheries commensurate with age. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118882
Lot 16
Magna Graecia, Southern Italy, Apulia, Virginia Exhibition Painter, ca. 330 to 300 BCE. A masterful Apulian red-figure amphora attributed to A.D. Trendall’s Virginia Exhibition Painter, the vase of a grand scale, presenting an elegant, sinuous form with intriguing iconography (see extended description below) and extensive decoration, all finely delineated in red-figure technique with additional fugitive white, yellow, and beige pigments. An exceptional and important work displaying superb artistry and technique. Size: 14.75" in diameter x 39" H (37.5 cm x 99.1 cm)Virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Refined vases like this amphora were not merely utilitarian pottery, but rather works of art in their own right, highly prized throughout the classical world. Red figure pieces in particular allowed for the development of more naturalistic imagery than black figure examples. This innovative technique involved creating figures by outlining them in the natural red of the vase, making it possible for the painter to then enrich the figural forms with black lines to suggest volume, perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail.Side A of this amphora features a pair of warriors sheltered by an ionic naiskos, one on horseback wielding a spear, his horse's right front leg lifted to mirror his own attack gesture targeted at his opponent who counters with his weapon and shield. Above this dramatic depiction of the pair of rivals, on the shoulder of the vase, is a female bust emerging from a blossom, a signature of the Virginia Exhibition Painter as well as the elite White Sakkos Painter. The Virginia Exhibition Painter also included floral elements beneath the warriors as well as a pair of plume-like elements beside the rider's torso, perhaps elements of his helmet and/or armor. This compares to another Apulian artist's (the Ganymede Painter's) penchant for adding iconography beyond the figures under the naiskos. On the obverse is a pair of draped standing youths facing one another, perhaps mourners of whomever did not survive the rivalry depicted on Side A, one leaning upon a staff or walking stick, with a distinct maker's mark between their heads. In addition to the figural imagery are the extensive decorative elements which are quite characteristic of the Virginia Exhibition Painter's known oeuvre. Note the ivy leaf motif beneath the rim created via fugitive white and creamy beige pigments, the black fan palmettes and white vertical rays on the neck painted just above the female bust who emerges from a blooming, foliated blossom with elaborate spiraled tendrils on the shoulder, this underscored by a tongue pattern, all in red-figure with fugitive white and yellow. Adorning the central naiskos scene are ivy leaf vines flanking the ionic columns as well as registers of dotted, scrolled, linear, and wave motifs below the scenes and continuing around the circumference of the vessel. Finally, beneath the elegant twin handles are large, double, red-figure palmettes.A remarkable vase of the so-called Ornate Style by the Virginia Exhibition Painter of a grand scale, decorated in an elaborate manner with intriguing scenes and figures as well as a great deal of subsidiary ornament in added colors. For a comparable example at Royal Athena Galleries listed at $125,000, follow this link: http://www.masterart.com/Greek-the-Virginia-Exhibition-Painter-330-300-Apulian-large-red-figured-amphora-the-Virginia-Exhibition-Painter-PortalDefault.aspx?tabid=53&dealerID=361&objectID=502940Trendall named this artist the Virginia Exhibition Painter, because five of his vases which came from the same tomb were first featured in an exhibition of South Italic vases at the Virginia Museum of Fine Arts in 1982, and a few were published in the accompanying catalogue - M. E. Mayo and K. Hamma, "The Art of South Italy: Vases from Magna Graecia" (Richmond 1982). Cf. especially the naiskos scene on p. 179. No. 73, and the woman on the shoulder of no. 76 (p. 185), the latter also a neck-amphora. Provenance: Ex-Royal Athena Gallery, NYC, NY. Condition: Handles reattached. Drilled hole beneath one handle for thermoluminescence testing. Surface wear with expected scratches, pigment losses, and mineral deposits commensurate with age. Small chip on right column of naiskos. Painting still quite vivid and impressive. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118744
Lot 21A
Roman, Imperial Period, Year 12, 65 or 66 CE. A heavy billon (silver debased with tin) coin minted in Alexandria, Egypt. The front has a bust of Emperor Nero with a radiate crown and the reverse is a handsome bust of Alexander. Size: 0.95" W (2.4 cm) Provenance: ex-private NY collection Condition: F All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119381
Lot 27D
Rome, Imperial Period, ca. 193 to 217 CE. A small, well-struck silver denarius of Julia Domna, Empress and wife of Emperor Septimius Severus; she was famous for her learning and her political influence. She is shown in a right-facing bust, with an impressively-detailed hairstyle; on the obverse shows Laetitia standing. Size: 0.95" W (2.4 cm)The denarius was a small silver coin first minted during the Second Punic War ca. 211 BCE. This was the most common coin in production in the Roman Empire, and its history, like much ancient coinage, is one of slow debasement in weight and silver content and attempts to reset it. Its legacy lives on in the words dinar, denaro, dinheiro, and dinero. Provenance: Ex-London art market, 1990s Condition: VF All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119589
Lot 200
A Victorian silhouette - profile bust of a schoolmaster, paper mache and gilt frame, a small framed print, a case of drawing instruments, various lighters and cigarette cases,Metropolitan whistle, electroplate cased compass and an ice hammer, collection of Commemorative Crowns and other coinage and other items (qty).
Lot 1019
A GEORGE III SCOTTISH MOUNTED CURLY HORN SNUFF MULL with openwork wavy borders, an agate-set cover, the body with a navette-shaped cartouche, inscribed "Sir Francis Chantrey's Mull, the gift of Lady Chantrey to William John Broderip, 16th January 1842", also with a dependant snuff spoon secured by a chain, unmarked, c.1790; 5" (12.8 cms) long *Sir Francis Legatt Chantrey *1781-1841) was an English sculptor, born at Norton, Derbyshire on 7th April 1781 who began his career as a wood carver. In his youth he was also a painter. However it is as a sculptor that he is best known and is considered by many to have been the best sculptor of the 19th century. In 1811 his bust of the radical reformer John Tooke was exhibited at the Royal Academy after which many commissions followed including statues of William IV in Windsor Castle and at Brighton. Other notable sitters were George IV, the Duke of Wellington, William Pitt, George Washington, in the State House, Boston as well as Sir Walter Scott. He also accepted many commissions from churches including monument to the Robinson children in Lichfield (1817) and a statue of Lady Frederica Stanhope in Chevening Church (1824). Chantrey received his knighthood in 1835 and died on 25th November 1841.
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110041 item(s)/page