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Lot 455
*Italy. Lombardy-Venetia, Duchy of Milan, under Austrian rule, Joseph II (1780 - 90), Gold sovrano, 1788, IOSEPH. II. D. G. R. IMP. S. A. G. E. HI. HV. BO. REX, laureate bust right, mint mark below, Reverse: ARCH. AVG. DVX. BVRG. LOTH. BRAB. COM. FLAN. 1788. 22 mm, approx. 11.1 g, good very fine but a few scuff marks near the edge towards the top of the coin, (N & V 466. Kr. 226) (1)
Lot 432
*Parthia. Gotarzes I (circa 95 - 85 B C). Silver drachm, cuirassed bust left wearing tiara ornamented with a horn, Reverse: archer enthroned holding bow, about 4.09 g., very fine (Selwood 33.3), with Orodes II (circa 57-38 B C), Silver drachm, diademed bust left, Reverse: archer enthroned holding bow, about 3.87 g., very fine, (Selwood 46.15) The first coin was originally attributed to king Sinatruces (circa 77-70 B C). (2)
Lot 438
*Faustina Junior, wife of Marcus Aurelius. Denarius, Obverse: FAVSTINA AVGVSTA, draped bust right, Reverse: blundered legend, Venus standing left holding Victory in her right hand, left hand resting on plain shield on a captive, very fine, not in RIC, together with a copper As, Reverse: FECVNDITAS S C, Fecundity standing right, fine First coin extremely rare. (2)
Lot 289
A 19th century French painted wax bust portrait, inscribed verso Robespierre, 4ins x 3.5ins, in birds eye maple veneered frame, together with a 19th century relief moulded bust of a man, signed Parker, with black ground and ebonised circular frame, diameter 8.5ins including frame and a circular relief moulded plaque decorated with a male portrait, diameter 6ins
Lot 1871
A pair of brass trap lamps Each with concave brass and glass panelled fronts, bowfront hinged back door, each handle of cylindrical form with bell shape bases enclosing detachable burners, 24.5cm, a Napoleon III style French brass finial, the crowned eagle with outstretched wings with a circular aperture, 23cm, and a bronze portrait bust of Arthur Duke of Wellington, head and shoulders, 18cm (4).
Lot 123
Léopold Bernhard Bernstamm (Russo-French, 1859 - 1939), a patinated bronze portrait bust of Czar Nicholas II, portrayed wearing the uniform of the Life Guard Preobrazhensky Regiment, his cloak draped around his right arm and over the rectangular section socle, signed in the maquette at the base edge (verso) L. Bernstamm and dated 1897 , 48cm high Provenance: Previously sold at Bonhams London, November 28th 2012, the Russian Sale, lot 28 Bernstamm was born in Riga, now Latvia, entering the studio of Prof. David Jensen at age 13. A year later he entered the Imperial Academy of Fine Arts of Saint Petersburg, where he won prizes. In the early 1880s he made around thirty busts of celebrated Russians including Fyodor Dostoyevsky (from his death mask), Denis Fonvizin, Aleksandr Ostrovsky and Mikhail Saltykov-Shchedrin. These busts established his reputation. He then spent 1884 in Rome and Florence, continuing his studies under Professor Rivalti In 1885 he settled in Paris, often returning to Saint Petersburg. His sculptures of eminent Frenchmen soon made him famous, including portraits of François Coppée, Paul Déroulède, Gustave Flaubert, Ludovic Halévy, Ernest Renan, Victorien Sardou, and Émile Zola. He also made portraits of Czar Nicholas II of Russia and members of the Imperial family (1896). His last work for Saint Petersburg was the bust of Czar Alexander III of Russia (erected in the Russian Museum garden, removed in 1918). All told, he sculpted approximately 300 portraits of Russian and European representatives of culture, science and politics, and sculpted some monuments. Bernstamm was made Chevalier of the Légion d'Honneur in 1891 IMPORTANT: This lot is subject to VAT and the buyer must pay VAT on both the hammer and the buyer's premium at a rate of 20%
Lot 77
A Continental sculpted white marble bust of Apollo, probably 18th century, modelled in the manner of the Apollo Belvedere, the head turned to dexter, a strap stretching over his left shoulder and running across loose drapery beneath his chest, 79cm high; on an associated cylindrical stone plinth, 83cm high; the height overall 162cm Provenance: Private Collection, London
Lot 70
Matthew Noble (1818 - 1876), an early Victorian sculpted Carrara marble bust of Arthur Wellesley, 1st Duke of Wellington (1769 - 1852), portrayed in later years, his head declined slightly to dexter, his Waterloo medal adorning the lapel of his voluminously draped coat, above a waisted circular socle, the reverse inscribed WELLINGTON, M.NOBLE LONDON 1851, 82cm high, 57cm wide Provenance: Goodnestone Park, Kent This bust of the Duke of Wellington in later life is one of the very few known marble versions of a composition that was later worked up into a full length statue situated in Manchester`s Piccadilly. The prime version is dated 1851, and was apparently commissioned by the Army and Navy Club. This was exhibited at the RA the following year (no.1442) along with a statuette of Sir Robert Peel, and it seems that Noble then produced at least two other versions in marble during 1852. Gunnis notes that busts of Wellington and Nelson from that year were also made for Grocer`s Hall, London, and a further version exists in the Walker Art Gallery , Liverpool. Howerver, that made for Grocer`s Hall was apparently destroyed by fire in the mid 1960`s and the later is considered to be unsigned and dated . Several smaller bronze and parion versions are also dated 1852, but only three surviving full-scale marble busts other than that offered here have been publicly documented over the two years in question and none of these were dated for 1851. Wellington visited the RA exhibition on 28th of July 1852, and whilst it is not known if he went specifically to see Noble`s bust, the meeting would have been considered a public blessing for what would become the sculptor`s most influential portrait. Noble was born at Hackness, Yorkshire. He studied under John Francis (1780-1861) in London, and entered the first of 100 ensuing exhibits at the RA in 1845. Although still a relative unknown, he won the commission for the Manchester monument of Wellington (erected in 1856) against keen competition, and this was to be the work that established his name in the public mind. A consideration of the head and clothing of the statue show clear indications that it was modelled from this bust of the sitter - both bust and statue epitomise Noble`s style: classical controposto and dignity combined with a contemporary realism in the attention given to the rendition of the sitter`s costume and medal - and thus Noble`s most famous work was born from the same sitting that yielded the bust type a year before Wellington`s death in 1852. It is certainly likely that the sculptor secured the commission for the Manchester monument on the strength of the bust, both in the empathy of its characterisation and enduring heroism in capturing the sitter at the end of such a remarkable life. Noble himself was weak throughout his life, his constitution was so delicate that he was effectively killed by the shock of losing his son in a railway accident. An obituary in the Art Journal of 1876 commented that it seemed `surprising to those who knew him personally that he should have lived even the comparatively short period of his life, and yet more that he should have been able to continue his labours. Few men have been more esteemed or regarded, not alone for his great ability , the manifestations of talent that very closely approximated to genius, but for rare qualities of mind and heart....He was a gentleman of high rectitude, irreproachable in all the relations of life`(1). Other portrait busts include those of Queen Victoria and the Prince consort, Sir Robert Peel, W. Etty, R.A., the Archbishop of York and the Bishop of London. 1) R. Gunnis `Dictionary of British Sculptors` pg.274
Lot 271
Three 19th century portrait miniatures on ivory each depicting ladies One depicting a lady wearing a large feathered hat, possibly by Thomas Jones, signed, together with a further hand painted miniature depicting a bust of a lady CONDITION REPORT: Lot 271: light wear marks/scuffs to frame, each portrait in generally good condition
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