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Lot 219
A Charles I Scottish Coronation 1633 silver 20mmm diameter coin with a crowned bust of Charles and a thistle and rosebuds to reverseAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
Lot 553
A diamond, sapphire and 18ct yellow gold ring set with three old-cut diamonds and three circular-cut sapphires to the foliate engraved shoulders and plain shank, Birmingham hallmark, size L/M, 2.8g; and an oval shell cameo, depicting the bust of a maiden with a floral garland in her hair, engraved yellow gold collet, later mounted as a scarf ring, 3.9g. 19th case, (2)Condition:
Lot 78
After the Antique. a plaster library bust of Caesar Augustuson a concave circular socle, rear impressed, 'B M Plaster Cast', for the British MuseumHeight 70cmCondition: Some losses to the left ear. The socle is dry and flaking, particularly to its rear.This lot must be collected from the Auction venue by 1pm Friday 10th February. Please arrange transport before this deadline. Uncollected property will be transported to our offsite storage facility and collection can be arranged by appointment only. Additional fees of £20 apply for the transport
Lot 79
A cast iron bust of a nymph19th centurymodelled with vine leaves and grapes to her hair, on a black finished socleHeight 61cmCondition: Patches of rust to all areas particularly to the left side and to the socle. Rubbing to paint. No Repairs or damage This lot must be collected from the Auction venue by 1pm Friday 10th February. Please arrange transport before this deadline. Uncollected property will be transported to our offsite storage facility and collection can be arranged by appointment only. Additional fees of £20 apply for the transport
Lot 200
Art, European and Persian, Printing and Wood-Engraving A collection of 13 volumes Sotheby & Co. Catalogue of the renowned collection of Western Manuscripts, the property of A. Chester Beatty. 2 volumes, 4to, plates, black half morocco gilt;Symonds, J.A. The Life of Michelangelo Buonarroti. London, 1893, 2 volumes, large 8vo, number 47 of 112 copies with photo-etchings printed on Japan paper as proofs before letters, contemporary half parchment, spines gilt, t.e.g.;Mardersteig, Giovanni. The Officina Bodoni, an account of the Work of a Hand-Press 1923-1977. Verona, 1980. 4to, original cloth, slipcase;Gibbings, Robert. The Wood Engravings. London: Dent, 1959, 4to, original cloth, dustwrapper;Raverat, Gwen. The Wood Engravings. London: Faber, 1959. 4to, original cloth; Grube, Ernst J. Islamic Paintings from the 11th to the 18th century in the collection of Hans P. Kraus. New York, 1972, folio, plates, original cloth;Colnaghi & Co., P. & D. Persian and Mughal Art. 1976. 4to, original cloth, dustwrapper;Ettinghausen, R. Persian Miniatures in the Bernard Berenson Collection. Milan: Ricordi, 1961, folio, original pictorial cloth; Robinson, B.W., editor. Islamic Painting and the Arts of the Book. The Keir Collection. London: Faber, 1976, 4to, original cloth, dustwrapper;Robinson, B.W. Persian Paintings in the India Office Library. 1976, 4to, original cloth, dustwrapper;Welch, Stuart C. Royal Persian Manuscripts. London, 1976, 4to, original wrappers;together with:Dante Alighieri. The Vision, translated by H.F. Cary. Florence, [c.1905], 4to, full calf gilt embossed with bronze medallion of Dante's bust on upper cover, spine gilt;Farrington, B. Science and Politics in the Ancient World. London, 1939, 8vo, original cloth
Lot 189
A set of eleven silver Rembrandt collection collectors coins, comprising Jacob Blessing the Sons of Joseph, The Anatomy Lesson of Doctor Tulp, The Money Changer, The Prodigal Son in the Tavern, The Prophetess Hannah, Aristotle Contemplating a bust of Homer, Tobit and Anna with the Kid, A Noble Slav, Jacob Wresting the Angel, Jeremiah Lamenting The Destruction of Jerusalem, and Portrait of Saskia, 24.02 gross.
Lot 256
AN ART NOUVEAU PLIQUE A JOUR ENAMEL AND DIAMOND PENDANT NECKLACE in yellow gold, the pendant designed as the bust of a lady among foliage, her hat and cape with green plique a jour leaves, her necklace set with rose cut diamonds, suspending a rose cut diamond drop, suspended from a belcher link chain, no assay marks, pendant 3.2cm, chain 59.0cm, 13.8g.
Lot 153
Spanish school of the late 18th century."Portrait of a Cardinal.Gouache on vellum.Frame in bronze and stuccoed wood.Measurements: 7 x 5,5 cm; 14,5 x 13 x 1,5 cm (frame).In this miniature the author immortalises the half bust portrait of a cardinal. He wears a cardinal's cape and cassock, both in red, symbolising the cardinal's willingness to die for his faith. The delicate execution of the features and clothing indicate that this is the work of an avid painter who specialised in the genre of miniatures, which developed in Europe from the 16th century onwards. These were mainly paintings that were embedded in objects such as medallions, table clocks or small boxes. They were executed in a wide variety of techniques, such as oil on copper, tin or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century, in parallel with the development of photography.
Lot 45
Spanish School, XVII century. After Rubens (1577-1640)."Supper at the House of Simon the Pharisee". Oil on copper. It has repaintingMeasurements: 40 x 54 cm; 46 x 60 cm (frame).Rubens painted the oil on which this copper painting is based around 1618. It was a very copied painting at the time: in the Prado Museum there is a version made by Pieter Van Lint, also in copper. The present copper painting is very faithful to the original, reproducing each of the figures and using a contrasting palette. The scene, taken from the Gospels, narrates the moment when Mary, sister of Lazarus, anointed the feet of Jesus with her perfume and then dried them with her hair. The pictorial tradition has often depicted the female figure with long blonde hair and a sensual figure, which has led to her being confused with the sinful Magdalene. The present painting belongs to this tradition, thus enriching the possible interpretations of this biblical theme. Mary, with her bust uncovered and an intense rapture in her countenance, does not pay attention to what Christ is trying to tell her, with a gesticulating attitude. The other figures, gathered around the table, look at each other and look at Jesus with a somewhat dazed gaze, establishing significant silent dialogues between them. The architecture is limited to a spatial demarcation, open to a background of sky. This work is faithful to the narrative richness of Rubens' painting, with its variety of attitudes and gestures, captured with naturalism, as well as the plasticity of the drapery. The event took place in the dining room of the house of Simon (the Pharisee according to some, the leper according to others), where various figures are situated around a table presided over by Christ. According to the scriptures, while they were dining, Mary, the sister of Lazarus, took a pound of precious nard perfume and anointed Jesus' feet, wiped them and the scent of the perfume filled the whole house. On seeing this, some of the disciples criticise the woman's wastefulness because of the high price of the perfume poured out. Anointing consists basically of pouring aromatic substances on the body of Christ, which are described in the sources generically as oils, perfumes or ointments.
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