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Click here to subscribeA MINERVA COLLECTION LIMITED EDITION THE GOLDEN MASK OF TUTANKHAMUN TABLE LAMP, together with a painted plaster bust of an Egyptian Prince, a Regency Fine Arts Egyptian figural tealight/candle holder, together with ten framed prints of Egyptian hieroglyphics, an Egyptian Pyramid statue with sixteen miniature gods, Anubis, Osiris, Maat, Bastet, etc. (4) (Condition Report: lamp not tested, no obvious damage)
A BUST OF A YOUNG GIRL AND A FIGURE GROUP, comprising a modern resin bust of a young girl by House of Parts Inc, with marble-effect finish, height 35cm, together with a bronzed resin figure group of male and female nude figures, impressed marks to base 'rosa, 2002' (2) (Condition Report: generally ok, the bust has some marks and would benefit from a clean)
TWO CABINET PLATES, comprising a Dresden style cabinet plate painted with a bust of a woman, indistinctly signed, inside a pink and cream heavily gilt border, marked with a blue printed letter D under a crown, other marks obscured by a gilt rose near the foot, diameter 22cm, together with a Royal Worcester wavy rimmed plate, with gold, pale pink and burgundy foliate decoration surrounding a central panel of printed and tinted wild strawberries and other flowers, bearing green printed backstamp and date cypher for 1902 (2) (Condition Report: good overall condition, the Dresden style plate has a few small missing areas of gilding, a little minor wear to Worcester plate)
A set of six sterling white metal coffee spoons and matching sugar tongs, the handles of shaped form with scrolling decoration, marked sterling to reverse alongside a stamped bust/head mark facing left, most likely American, gross weight 60grams,. Sold together with a set of four late Victorian silver salts, of boat shape with embossed reeded and foliate decoration, marks for Birmingham 1899, maker W.D, sold along with an associated silver spoon, damage to box. 36grams.
Ca. 1700-1850 AD. A magnificent marble bust depicting Caesar Augustus, the first Roman emperor, with an air of regal authority, his powerful gaze, and commanding presence capturing the essence of his reign. The eyes are deeply set, with pronounced eyebrows and a strong nose, conveying the strength and determination that characterized Augustus' rule. The lips are tightly pursed, reflecting his unyielding resolve in the face of adversity. The hairstyle is carefully coiffed, with intricate curls and waves that add to the sense of majesty and power. Augustus, born Gaius Octavius, was the great-nephew of Julius Caesar and rose to power in the wake of his assassination. He served as the first Emperor of Rome from 27 BC until his death in AD 14, overseeing a period of unprecedented prosperity and stability known as the Pax Romana. Augustus was a skilled statesman and military leader, renowned for his cunning and strategic thinking. His reign laid the foundation for the Roman Empire and his legacy continues to be felt to this day. Cf. The Victoria Art Gallery, Accession number BATVG:M:1983.576.Size: L:550mm / W:265mm ; 22.6kgProvenance: London, UK collection; formerly acquired on the French Art Market, Paris.
Ca. 100-200 AD. A stunning gold finger ring of a flat-section hoop with nicely decorated shoulders and a bezel set with a carnelian intaglio depicting a left-facing female bust, flanked by quiver and arrows. The latter led to identifying this female portrait as a depiction of the Roman goddess Diana (Greek Artemis). In Roman art, Diana usually appears as a huntress with a bow and quiver, accompanied by a hound or deer. Size: D: 21.18mm / US: 11 5/8 / UK: X; 5.68gProvenance: Private London collection; British art market 1990s.
Ca. 100-300 AD (intaglio), ca. 1700-1800 AD (brooch). A remarkable example of neoclassical jewelry, featuring a Roman stone oval-shaped intaglio that has been carved with a bust of Diana, the Greek goddess of the hunt and moon. The carving is highly detailed and shows Diana facing left, with her wavy hair arranged in an intricate cascading coiffure. The facial features of the goddess are delicately rendered, with particular attention paid to her piercing eyes, strong nose, and serene expression. The intaglio is set in a neoclassical gold cell that features a twisted ropework border, which complements the classical style of the piece. The intaglio is then suspended in the center of a brooch setting that is formed from a gold shank with its upper body intricately covered with fine scrollwork. Each end of the shank is adorned with a carefully rendered ram head. The ram heads are another example of the intricate attention to detail in this piece, with their curled horns and lifelike eyes adding a further element of sophistication to the brooch. The catchplate with a pin to the reverse allowed the brooch to be securely fastened to clothing, making it a practical as well as a beautiful accessory. Incorporating Roman intaglios in neoclassical jewelry was a common practice in the late eighteenth and early nineteenth centuries. The revival of classical art and culture during this period led to a renewed interest in ancient Roman intaglios, which were often used as the centerpiece for neoclassical pieces that were both aesthetically pleasing and intellectually stimulating.Size: L:41.6mm / W:26mm ; 6.86gProvenance: Private London collection; formerly acquired on the British art market in 1990s.
Old Kingdom, ca 2300 BC. A sandstone relief section of the sub-rectangular form, carved in raised relief with the bust of an offering bearer in profile left, above a vulture standing right; remaining traces of flesh-colored pigment to the figure, together with the start of a hieroglyphic text to the top right of the section; accompanied by a custom-made display stand. With Bonhams 22 September 1998, lot 83.Size: L:180mm / W:95mm ; 500gProvenance: Private collection of Professor Kenneth Graham, London, UK.
Ca. 1st to mid-2nd century AD. A beautiful limestone bust of a young man, likely to be a fragment of a larger banqueting relief from the desert city of Palmyra. The subject depicted is a youthful beardless man with almond-shaped eyes and a small, down-turned mouth. The hair brushed forward in a series of locks. He wears a sleeved tunic with braided edges and groups of comb-pattern bars at the joined seams; over this, a chlamys is secured on the right shoulder by a rosette-shaped brooch, and he is holding in his left hand a sceptre.The wreath shown across the head is typically associated with priests, which were a common subject and form 10 per cent of Palmyrene funerary representations in total. Palmyrene priesthood was passed on within families to male members, sometimes from father to sons and sometimes from uncle to nephews. Furthermore, it is now clear that priesthood was not a profession that was necessarily held for a lifetime but rather a position and a status symbol, which carried great significance in Palmyrene society and was restricted to the elite of the city. To find out more about the representation of priests in Palmyrene funerary sculpture, see Raja, R. (2017). ‘“You can leave your hat on”. Priestly representations from Palmyra: Between visual genre, religious importance and social status’, in Richard Gordon, Georgia Petridou and Jörg Rüpke (eds), Beyond Priesthood: Religious Entrepreneurs and Innovators in the Roman Empire (Berlin: De Gruyter), pp. 417–442. Size: L:With stand: 205mm / W:99mm ; 1.2kgProvenance: Private UK collection; From an old London collection formed in the 1980s.
Ca. 100-300 AD. A gold finger ring of a D-shaped hoop rising to an oval bezel containing a stone intaglio depicting a bust of God Asclepius seen in right profile and wearing a laurel wreath. His face features a pointing nose, deeply set eyes and impressive beard. His attribute, a serpent entwined around a staff, appears at the right edge. In Greek mythology Asclepius is a God of medicine, son of God Apollo and Koronis. His temples (asclepeion) also served as hospitals and sanatoriums.Size: D: 19.1mm / US: 8 1/4 / UK: Q 1/2; 9.56gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Ca. 200-300 AD. A gold ring of faceted, flat-section band tapered to the rear. Bezel contains a stone intaglio depicting a bust of Sol Invictus wearing a radiate crown. Sol Invictus - Unconquered Sun - Roman syncretic deity, combining the features of the Roman solar god Sol and the Indo Mithra. The cult was introduced by Emperor Aurelian in 274 AD. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 15.04mm / US: 4 1/4 / UK: I; 6.68gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Ca. Late 2nd - 3rd Century AD. A finely engraved intaglio of hard stone with a bust of Julia Domna, a fascinating personality hailing from the Roman Empire's Severan dynasty. She is portrayed in her right profile, with a distinctive aquiline nose, wavy hair, and large eyes. The detailing on the intaglio is remarkable, with every feature etched with precision and finesse. The intaglio is set in a 22k gold ring of a round hoop with expanding shoulders, featuring a faceted profile that accentuates its intricate design. Julia Domna was the second wife of the Roman Emperor Septimius Severus, and she was known for her intelligence, beauty, and wit.Size: D: 17.45mm / US: 7 1/4 / UK: O 1/2; 9.91gProvenance: Private Swiss Collection, formed since the 1980s.
Ca. 100-200 AD. A wearable gold ring, Henig type I, with a round hoop widening at the shoulders, and a bezel with inset oval onyx gemstone with an intaglio depicting a left-facing female bust, flanked by quiver and arrows; the latter lead to identifying this female portrait as a depiction of the Roman goddess Diana. In Roman art, Diana usually appears as a huntress with a bow and quiver, accompanied by a hound or deer. In Rome, the most important temple of Diana was on the Aventine. This temple housed the foundation charter of the Latin League and was said to date back to King Servius Tullius (6th century BC). Another important centre for the worship of Diana was Ephesus, where the Temple of Artemis (or Diana) was one of the Seven Wonders of the World. Cf. G. M. A. Richer, Catalogue of Engraved Gems - Greek, Etruscan and Roman, Plate XXXIX, fig. 282.Size: D: 19.31mm / US: 9 3/8 / UK: S 1/2; 12.64gProvenance: Private London collection; British art market 1990s.
Western Europe, probably England or France, Neoclassical Period, ca. 19th century AD. A beautiful ring from Neoclassical Europe. The gold ring body features a minimalist ovoid bezel that rests atop a gently bifurcated shank lined with 2 parallel bands of raised stippling. Within the bezel resides a hand-carved carnelian intaglio of warm vermilion hues that showcases the bust of Apollo, the Roman god of music, with flowing hair, youthful facial features, and a tapered neckline that hides the midsection of a stringed lyre below.Size (ring): 0.79" W x 0.78" H (2 cm x 2 cm); (shank): 0.79" Diameter (2 cm); (bezel): 0.55" W x 0.67" H (1.4 cm x 1.7 cm); (intaglio): 0.46" W x 0.59" H (1.2 cm x 1.5 cm); metal quality: 42% copper, 40.1% gold, 10% silver; weight: 2.2 grams; US ring size: 6 D: 17.35 / US: 7 / UK: OProvenance: From the collection of a London Ancient Art gallery; formerly in private East Coast collection, New York, New York, USA, acquired before 2010.
Ca. 100 AD (Stone), Ca. 1900 AD (Ring). An amethyst intaglio featuring the depiction of a female bust seen in a left profile. The figure is portrayed with a carefully arranged, curly hairstyle. Script to the left. Intaglio set in a Neo-Classical gold ring with a round, flat-section hoop and raised bezel.Size: D: 17.35mm / US: 7 / UK: O; 12.64gProvenance: From a Central London Gallery, previously in I.G. Collection, acquired on the US Art Market before 1980s.
AD 364-378. Valens Av. solidus, AD 364-378, Antioch mint, 3rd officina. Struck AD 364. DN VALENS PERF AVG; pearl-diademed, draped, and cuirassed bust right. Rev. RESTITVTOR REIPVBLICAE; Valens standing right, holding labarum with cross on banner and Victory on globe; cross to left; mintmark *ANT?* in exergue. RIC IX 2d.xxxvii.3; Depeyrot 20/2. Light graffiti, some short scratches and minor marks, lightly clipped. Very Fine.Size: 21mm; 4.15 g, 6hProvenance: Private London collection.
AD 393-423. Honorius Av. solidus, AD 393-423, Ravenna mint. Struck AD 402-406. DN HONORIVS PF AVG; pearl-diademed, draped and cuirassed bust right. Rev. VICTORI-A AVGGG; Honorius standing right with left foot on bound captive, holding labarum and crowning Victory on globe; across field, R-V; mintmark COMOB in exergue. RIC X 1287; Depeyrot 7/1; Ranieri 12. Very Fine.Size: 21mm; 4.41gProvenance: Private London collection.
AD 408-420. Honorius Av. solidus, AD 408-420, Constantinople mint. . D N HONORIVS P F AVG; pearl-diademed, helmeted and cuirassed bust facing slightly to right, holding spear and shield decorated with horseman motif. Rev. CONCORDIA AVGG ?; Constantinople seated facing, head to right, holding sceptre and Victory on globe, foot on prow; star in left field, CONOB in exergue. RIC X 201; Depeyrot 73. Good Very Fine; graffiti. This coin published in I. Vecchi, R. Beale and S. Parkin, The Mare Nostrum Hoard (forthcoming); From the Mare Nostrum Hoard (1954).Size: 21mm; 4.16g, 6h.Provenance: Private London collection.
AD 462 or 466. Leo I Av. semissis, AD 462 or 466, Constantinople mint. DN LEO PE-RPET AVG; pearl diademed, draped, cuirassed bust right. Rev. VICTORIA AVGG; Victory seated right on cuirass, behind which is a shield; on her left knee she supports a shield inscribed XXX. Star in left field, reversed christogram in right field. Mintmark CONOB. RIC X 610; Sear 21420. Nearly very fine.Size: 19 mm; 2.16gProvenance: Private London collection; previously from the K.T. collection.
AD 476-491. Zeno Av. solidus, AD 476-491, Constantinople mint. D N ZENO PERP AVG; pearl-diademed, helmeted and cuirassed bust facing slightly to right, holding spear and shield decorated with horseman motif. Rev. VICTORIA AVGGG I; Victory standing facing, head to left, holding long jewelled cross; star in right field, CONOB in exergue. RIC X 911 and 930; Depeyrot 108/1. Good Very Fine. This coin published in I. Vecchi, R. Beale and S. Parkin, The Mare Nostrum Hoard (forthcoming);From the Mare Nostrum Hoard (1954).Size: 20mm; 4.47g, 6h.Provenance: Private London collection.
AD 545-565. Justinian I Av. solidus, AD 545-565, Constantinople mint. D N IVSTINIANVS P P AVC; helmeted and cuirassed bust facing, holding globus cruciger and shield decorated with horseman motif. Rev. VICTORIA AVCCC Z, angel standing facing, holding long staff surmounted by staurogram and globus cruciger; star in right field, CONOB in exergue. MIBE 7; DOC 9g; Sear 140. Good Extremely Fine.Size: 19mm; 4.44g, 7h.Provenance: Private London collection; previously ex inventory of a German dealer.
AD 602-610. Phocas Av. solidus, AD 602-610, Constantinople mint, officina Z. ON FOCAS PERP AVG; bust facing, wearing crown without pendilia. Rev. VICTORIA AVGG Z; angel facing, holding long P-cross & globus cruciger. SB-618. Superb bold strike, lustrous.Size: 24mm; 4.47gProvenance: Private London collection.
AD 602-610. Phocas Av. solidus, AD 602-610, Constantinople mint. Struck AD 607-610. ? N FOCAS PERP AVI; draped and cuirassed bust of Phocas facing, wearing crown surmounted by cross and holding globus cruciger in his right hand. Rev. VICTORIA AVG? ? / CONOB; angel standing facing, holding long linear staff surmounted by staurogram in his right hand and globus cruciger in his left. DOC 10e. MIB 9. SB 620. Minor marks and with a graffito on the reverse, otherwise, about extremely fine.Size: 22mm; 4.42 g, 6 h.Provenance: Private London collection; formerly from a European collection, acquired before 2021.
AD 764-773. Constantine V Copronymus Av. solidus, AD 764-773, with Leo IV and Leo III, Constantinople mint. CO?S?A??I?OS S L?O? O ??OS; crowned facing busts of Constantine V and Leo IV, each wearing chlamys; cross above, pellet between. Rev. C L?ON P A M?L; crowned facing bust of Leo III wearing loros, holding cross potent. Füeg 6.B.5; DOC 2g; Sear 1551. Near Extremely Fine.Size: 21mm; 4.46g 6h. Provenance: Private London collection, previoulsy from the inventory of a North American dealer.
AD 1042-1055. Constantine IX Monomachus Av. histamenon nomisma, AD 1042-1055, Constantinople MINT. +I?S XIS R?X R??NANTI?M; Christ enthroned facing, raising hand in benediction and holding book of Gospels. Rev. + C??S?A?T? ?ASIL??S Rm; crowned bust facing, wearing loros, and holding labarum and globus cruciger. DOC 2a; Sear 1829. Near Extremely Fine; contact depressions to obv., corresponding raised areas on rev.Size: 27mm; 4.4g, 6h.Provenance: Private London collection, formerly from the inventory of a UK dealer.
Ca. 170-145 BC. Greco-Baktrian Kingdom, Eukratides I Megas Ar. Tetradrachm, ca. 170-145 BC, Indo-Skythian imitation. Diademed and draped bust to right, wearing crested helmet adorned with bull's horn and ear; all within bead-and-reel border. Rev. The Dioskouroi on horses prancing to right, each holding spear and palm; BA?I???? ?????Y above, ??KP??I?O? below, monogram in right field. Senior A19.3T; for prototype, cf. Bopearachchi 6, Mitchiner 177 & HGC 12, 131. Very Fine.Size: 31mm; 15.28g, 1h.Provenance: Private London collection, formerly from the inventory of a UK dealer.
Ca. 133-48 BC. Apameia, Phrygia AE21, ca. 133-48 BC. Bust of Athena right in crested helmet. Rev. [AP]AMEO[N], [PHIL]OKPATOY[S]; above and beneath eagle alighting right on maeander pattern between two pilei, stars in lower centre and upper right.Size: 21mm; 7.52gProvenance: Private London collection.
AD 114-117. Trajan Ar. denarius, AD 114-117, Rome. IMP CAES NER TRAIANO OPTIMO AVG GER DAC; Bust of Trajan, laureate, draped, cuirassed, right. Rev. P M TR P COS VI P P SPQR; Mars, helmeted, naked except for cloak round shoulders, advancing right, holding transverse spear in right hand and trophy over left shoulder in left. RIC 337. Very Fine.Size: 17.26mm; 5.58gProvenance: Private London collection.
After AD 141. Diva Faustina I, Ar. denarius, after AD 141, Rome. DIVA AVG FAVSTINA; diademed and draped bust right. Rev. CONCORDIAE; Antoninus Pius standing right, holding roll, clasping hands with Faustina standing left, holding sceptre. C 159. RIC A. Pius 381b. Very fine.Size: 18mm; 3.31gProvenance: Private London collection.
A modern Italian silver plaque cast in relief as the bust of the madonna, impressed M Zosco? housed within an oak frame, plaque dimensions 25x19cm, max dimensions 46x39cm, together with three other Italian silver plaques each cast in relief to include harvest scene, church, and the madonna and child (4)
A bust of King Tut-ankh-amun and two Egyptian figures. COLLECT ONLY.both figures are the Leonardo collection.Made of resin.No damage, dusty.Height 59cm x base 17cm x 14cm.Height 59cm x base 14cm x 14cm.Bust is made by Austin Prod Inc 1977.Resing on a black chipboard plinth.Total height 38cm x base 18cm x 28cm.No damage, dusty
A Victorian Parian ware Bust of Lord Clyde (Sir Colin Campbell), impressed 'Copeland' to rear and 'W' to base, circa 1858. Sir Colin Campbell was a famous Scottish soldier who served in campaigns from the Napoleonic Wars to the Indian Mutiny 1857, where he commanded and he became Lord Clyde in 1858. 7 1/2" tall.
Maler und Kopist 19. Jh., NACH ÉTIENNE LIOTARD, JEAN "Portrait Maria Theresias", Öl auf Leinwand, aufgezogen auf Eichenholzplatte, Brustporträt der Kaiserin mit einer brillantengeschmückten Haube und Rüschenkleid, verso Klebeetikett teilw. unleserlich. HxB: 16/12 cm, gerahmt (29/24,5 cm). Altersspuren, min. Farbabplatzer, part. fleckig, part. Ablösungen der Leinwand im Randbereich.| Painter and copyist 19th century, AFTER ÉTIENNE LIOTARD, JEAN "Portrait Maria Theresa", Oil on canvas, mounted on an oak panel, bust portrait of the empress with a bonnet decorated with diamonds and a ruffled dress, partially illegible adhesive label on the reverse. HxW: 16/12 cm, framed (29/24.5 cm). Signs of age, minor paint chips, part. spotty, part. Detachment of the canvas in the edge area.
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