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Rodin, Auguste (1840-1917) Bronze portrait bust of Victor Hugo Buste de Victor Hugo, dit 'à l'Illustre Maître' An early twentieth century bronze model of a bust of Victor Hugo entitled 'Bust to the illustrious Master' by Auguste Rodin (French, 1840-1917).  This bronze was produced using the lost wax process at the Montagutelli Foundry, Paris, circa 1912. Prior to casting is was signed in the wax 'A. Rodin'. It has a dark brown patina with golden undertones. Provenance: Estrada Collection, Buenos AiresExhibition:The Paris Salon of 1884.Palais des Beaux Arts, Brussels, 1930 (variant).'Rodin et le Ecrivains de son temps', Musee Rodin, Paris, 23 June-18 October,  1976 (variant).'Victor Hugo', Kunsthaus, Zurich, 4 June - 23 August 1987, cat. no. 70 (variant).'Rodin: 150th Anniversary of his Birth', Museum of art, Miyagi; Museum of Contemporary Art, Sapporo; Museum of Modern Art, Ibaragi; cat. no. S-45, 25 August - 9 December, 1990 (variant).'Auguste Rodin (1840-1917) Meishuguan, Beijing; Exhibition Center, Shanghai; Museum of Fine Art, Hong Kong; Fine Arts Museum, Tapei; 1993 (variant).'Rodin', Municipal Museum of Art, Reykavik, no. 61, 23 October - 12 December 1993 (variant).'Rodin et la Belgique', Palais des Beaux Arts, Charleroi, 7 September - 14 December, 1997.'Victor Hugo vu par Rodin', Musee des Beaux Arts et d'Archeologie, Besancon, no. 25, 4 October 2002 - 27 January 2003 (variant).'D'Ombre et de Marbre. Hugo face a Rodin', Maison de Victor Hugo, Paris, 17 October 2003 - 1 February 2004 (variant).'Rodin y la revolucion de la escultura. De Camille Claudel a Giacometti', Caixaforum, Barcelona, cat. no. 8, 29 October 2004 - 27 February 2005 (variant).‘Rodin et son Contemporains’, July 6th to September 9th 2017, McArthurGlen Provence, Miramas (this actual cast).‘Monumental Inspiration - Rodin and Beyond’, October 2nd to November 17th 2017, Sladmore Gallery, London, illustrated cat. no. 1 (this actual cast).Fiddian Green, Rodin and the Elgin Marbles - Classical Inspiration, April 25th to May 18th 2018, Sladmore Gallery, London (this actual cast).Dimensions: 23 in. (H) x 11. in (W) Literature: 'The Bronzes of Rodin. Catalogue of works in the Musée Rodin', by Antoinette Le Normand-Romain, Paris, 2007, page 432-433.'Rodin the Shape of Genius', by Ruth Butler, 1993, pages 172-178.'Rodin's Art. The Rodin Collection Iris and B. Gerald Cantor Center for Visual Arts Stanford University, Albert E. Elsen, with Rosalyn Frankel Jamison, 2003, pages 293 - 296.Dimensions: (With base) 23 in. (H) x 10 in. (W) (Without base) 17 in. (H) x 10 in. (W)

Bust on pedestal, plaster, female portrait - THIS LOT IS TO BE COLLECTED BY APPOINTMENT FROM DUGGLEBY STORAGE, GREAT HILL, EASTFIELD, SCARBOROUGH, YO11 3TX

A mixed lot of 20th century household items to include four engraved Georgian style rummers, a cream glazed wash bowl, tourist treen maracas and African bust, decanters, a Doulton Lambeth jug A/F, knife rests, ceramics and earthenware bowlsLocation: A1M

Coins - a Charles II (1660-1685) Crown, 1662, first bust, rose below, Fine, some evidence of cleaning; together with four other 20th century coins. (5)

A 17th century style silver hinged lidded tankard, maker's mark indistinct, possibly Dibdin & Co Ltd, decorated with impressed bust of William Shakespeare and Tudor rose on base, raised acanthus ornament around the waist, 3¼in. (8.25cm) high, weight 6.25 tr.oz.. * Maker's mark rubbed, otherwise good.

An Art Nouveau style bronze overlay bust of a maiden, late 20th century, unsigned, 12½in. (31.75cm.) high. Good condition overall. Sticker mark to patination to back of pedestal. No other faults.

Italian School (early 20th century), Still life of roses in a classical urn, a Roman bust, books, bronze bowl and artist's palette in a classical landscape, oil on canvas laid onto board, signed with initials 'MN', 32 ¾ x 32 ¾in. (83.2 x 83.2cm.), modern gilt frame.

A lovely 19th century bronze bust of a gentleman with fur trimmed jacket and laurel leaf crown, H. 27cm.

A rare and important enamelled armorial opaque twist cordial glass of Scottish interest, circa 1765Perhaps by Anthony Taylor, the round funnel bowl with a solid base, painted in white and red with the crest of Wilson of Fraserburgh, an arm in armour, embowed, the hand grasping a sword, above a ribbon wreath, inscribed 'VENTURE and GAINE.' around the rim, the double-series stem with a pair of heavy opaque white threads around a gauze corkscrew, over a conical foot, 16.4cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionThe crest on this remarkable glass is almost certainly that of the Wilson family formerly of Fraserburgh, near Aberdeen, who employed the motto 'Venture and Gain' and are known to have been merchants in the area since the late 17th century. Only three other cordial glasses from this set would appear to be recorded, including a pair offered by Sotheby's on 15 November 1994, lots 501 and 502 and again on 13 June 1995, lots 87 and 88. The third was sold by Christie's on 7 October 1996, lot 60. The style of enamelling belongs to a distinct group of enamelled glasses discussed by Simon Cottle, 'The Other Beilbys', Apollo (October 1986), pp.315-27. It is thought that some of these may have decorated in Scotland and could be the work of the Scottish enameller Anthony Taylor (1743-1803?), formerly of Newcastle-upon-Tyne and a contemporary of William Beilby. Several related crested glasses exist in which the enameller has employed a similar limited palette of white and red. This includes a set of wine glasses for Bannerman of Elsick inscribed 'Pro Patria', illustrated James Rush, The Ingenious Beilbys (1973), p.75 no.41, one of which was sold by Bonhams as part of the Peter Meyer Collection on 1 May 2013, lot 65.The Wilson and Bannerman families were connected by marriage. Charles Bannerman (1750-1813), the youngest brother of Sir Alexander Bannerman of Elsick, 6th Baronet, married Margaret Wilson (1761-1836) in Aberdeen in 1785. Her brother was George Wilson (1751-1816), a prominent barrister of Lincoln's Inn and leader of the Norfolk circuit, who is buried in the Bannerman family grave in St. Cuthbert's Churchyard, Edinburgh. Related by marriage to distinguished physician Dr George Fordyce, he was a close friend of Sir Samuel Bentham in the 1770s, and subsequently Sir Samuel Romilly. His father, Patrick Wilson, had been a collector of customs in Aberdeen who had spent some years living on St. Kitts in the West Indies and himself was a close friend of the Scottish poet, moralist and philosopher James Beattie. Both men were staunchly opposed to slavery and Wilson is mentioned in Beattie's Elements of Moral Science, Vol.2 (1793), p.63. It is highly plausible that this set of glasses was commissioned for either Patrick or his son George.The limited palette employed may also be associated with a set of Jacobite glasses painted with a portrait bust of Prince Charles Edward Stuart in red, white and blue, a set of glasses for The Beggar's Benison society in red, white and green, and several Masonic firing glasses in red and white. All are considered to be of Scottish origin and perhaps the work of Anthony Taylor, see Cottle (1986), pp.315-27.For further information on this lot please visit Bonhams.com

A South Staffordshire enamel patch box, circa 1793-95Of oval form, printed in black with a titled bust-length portrait of King Louis XVI of France, the base washed in bright blue, the hinged lid inset with a mirror, 5.6cm longFootnotes:The execution of King Louis XVI in January 1793 sent shockwaves across Europe. A contemporary patch box depicting the unfortunate king at the guillotine was sold by Bonhams on 1 December 2021, lot 379.For further information on this lot please visit Bonhams.com

A resin bust of a man Condition Report:Available upon request

A 19th century copper lustre jug, printed with Hope, together with a small carved marble dog seated on a cushion and a ware bust of William Shakespeare. Tallest 24 cm. CONDITION REPORT: The bust has visible cracks to both sides of the neck. There is a large 1 cm wide chip to the vase and a crack to the vase. The jug has cracks to the spout and a chip to the base of the handle. There are scuff marks to the marble dog.

British School (19th century), bust length portrait of the piano maker Thomas Broadwood, oil painting on canvas. 22 cm x 27 cm.

A Roberto Cavalli pale lime and cream couture strapless ballgown,handmade in light organza silk muslin and silk, embroidered in part with lurex embroideries, bustier boned strapless bodice with a full skirtMade in Florence, exclusively for the actress Michelle Yeoh to wear at the Cannes Film Festival premiere.Condition ReportIn very good condition.Fabric is frayed on purpose, as part of the design of the dress.Inside lining with some dark marks.Inside hem dirty, but cannot be seen from outside.Sizes listed are approximate.Waist - 70cmBust - 87cmLength from top line to hem - 137cm

A 19th Century painted plaster simulated terracotta figural bust of an 18th Century gentleman in open neck shirt with ponytail, on a simulated marble socle to giltwood base, 57 cm high CONDITION REPORTS Appears to be basically sound though with obvious signs of chipping and loss in several areas - see images for further detail

A cream painted plaster bust of the Empress Salonina (Salonina Augusta, wife of Emperor Gallienus, Ruler of Rome AD 253-268, the original purchased in Rome from the Palazzo Barberini by Matthew Brettingham for Thomas Cook of Holkham, circa 1754), 71 cm high

AFTER PIERRE-JEAN DAVID D'ANGERS (1788-1856) "La Liberté Marianne" a bronze figure of a maiden wearing a Phrygian cap and loose robes holding a flintlock rifle and a wreath inscribed to base "PJ David 1849 - Liberté, Liberté chérie combats avec tes défenseurs - F Barbedienne fondeur" 14 cm high on a black marble pedestal base 23.5 cm high over all together with a similar bronze figure of a maiden in robes holding a long sword 14 cm high on a marble base 18.5 cm high over all, a further bronze figure of a kneeling woman in robes, her arms before her, bow or possibly lyre missing 16.3 cm high and a chocolate patinated bronze figural bust of a partially robed maiden on a carved walnut column base, figure 9.5 cm, 19.2 cm over all

A patinated lead figure wrestling a snake, 20 cm high, a lead figure of a nude seated upon a rock, 21.5 cm high, a bronze figure of a Roman emperor holding aloft a scroll, 34.5 cm high, a gilt metal of a nude, possibly Cleopatra, holding an asp to her breast, 23 cm high, a bronze bust of Bacchus, (lid to top of head missing), 8.5 cm high, a bronze figure of a man with arms held aloft, possibly a representation of Atlas, 13 cm high and a pressed brass figure of a lion mask, approx 20 cm x 15 cm

A painted pottery bust of Benjamin Disraeli on a socle base, 25 cm high, a marble bust figure of Napoleon, 10 cm high, a carved alabaster miniature bust AFTER JULIO RUGGERI of "Cesare", 14.5 cm high and a glazed pottery figure of a Classical robed maiden with lion at her feet, 20 cm high

Giovanni Schoeman (1940-1980) Ethne painted bronze bust of an Art Nouveau maiden signed and titled to the bronze base 11.5cm. high

BUST OF A WOMAN'S HEAD WITH FLOWERS IN HER HAIR

A LATE 19TH CENTURY JAPANESE PATINATED BRONZE BUST ON STAND modelled as an Emperor mounted on an ebonised base27.5cm high

AN 18TH CENTURY MINIATURE BUST PORTRAIT ON COPPER OF A GENTLEMAN in glazed gilt and ebonised frame13cm high 11cm wide overall

TWO EARLY 20TH CENTURY SILVER MOUNTED PARASOLS one having an ebonised handle with carved bust of an officer above a silver collar, the other having a silver handle with scrollwork decoration on ebonised cane (2)89.5cm overall

MAURICE MAIGNAN. A FRENCH BRONZE AND ROUGE MARBLE BUST CIRCA 1900 modelled as a young woman mounted on a reeded rouge marble column and square base with gilt bronze plinth, signed35.5cm high

MAUREEN COATMAN. A LARGE LIMITED EDITION BRONZE SCULPTURE OF RED RUM the bronze bust inscribed on the reverse "RED RUM. M.M. COATMAN, 1977. 2/25" mounted on a titled granite base with applied bronze plaque showing Grand National results and jockeys, raised on a moulded ebonised plinth64cm high

A 19TH CENTURY BRONZE BUST OF AJAX THE GREAT well patinated with gilt hight-lighted socle24cm highIn very good condition with no scratches or damage, nice colour and patina.

A LATE 19TH CENTURY NEAPOLITAN BRONZE BUST in the manner of Vincenzo Gemito, modelled as a blindfolded woman on bronze socle and square base with clipped corners 31cm high

AN EARLY 19TH CENTURY BRONZE BUST OF THE DUKE OF WELLINGTON on a sienna marble plinth with bronze collar34cm highThe bronze is in good undamaged condition with nice colour and patina, the marble base has a chip to the back bottom right corner and to the front left corner of the bottom plinth.

AFTER ROBERT CAUER (1863-1947) A LATE 19TH CENTURY CARVED MARBLE BUST OF A GENTLEMAN signed Robert Cauer and dated 1887 - mounted on a turned socle.71cm highThe marble is in good condition, there is some tape adhesive on the back where some tape has been. The left arm on the bottom has some small chips (seen in the images). There are no other losses or damage and no signs of restoration.

A composition bust of a girl, 44cm, 6 Lladro figures and a Royal Dux ballet dancer

A composition bust of a girl, 47cm

Bust of Apollo, after the Ancient, plaster, 19th century, 60 cm high

Male Bronze Bust, in ancient manner, full cast with fine hand finish and original dark patina with verdi gris, on later ebonized wooden base and bronze peak, probably Roman, 2nd to 1st century B.C., total height 16 cm

Bronze Bust of a Greek Philosopher, original cast with brown patina, on stepped round marble base; 19th/20th century, 25 cm high

Match Sticker Box, in shape of a monkey bust with to be opened head, bronze, late 19th century, 11 cm high

Garden Chess Play Figure, horse bust on stepped base, iron cast, black lacquered, 19th century, 40 cm high, lightly weathered, two holes

Bronze Bust, of a bearded king, cast with original patina, on iron peak on white marble base, 38 cm high

Jacopo Amigoni (1682-1752)-attributed, portrait of a sculptor with stone bust and hammer, oil on canvas in original frame, on the reverse old paper label with coat of arms, 85 x 60 cm

Modern decorative ornaments of a pair of monkeys, and a plastic bust in the crystal palace style

A George I gilt gesso side table1720-1726, possibly by John BelchierThe top with an ovolo moulded edge and re-entrant front angles, decorated with shallow-relief strapwork decoration comprising a central rosette within a shaped and scrolled cartouche, the cartouche border interspersed with lozenge medallions, encompassed by scrolled foliage and bellflower pendants, above an acanthus and scallop shell ogee shaped frieze, over an everted apron centred by a swagged acanthus spray within a scrolled foliate cartouche, on griffin bust, acanthus, bellflower pendant and rosette clasped scroll eared square section cabriole legs, terminating in shell wrapped feet, probably very slightly reduced in height, 108cm wide x 56cm deep x 70.5cm high, (42 1/2in wide x 22in deep x 27 1/2in high)Footnotes:An almost identical gilt gesso side table to the offered lot is located in the Second Best Bedchamber at Erddig, a large historic house near Wrexham in Wales. It is first documented in a 1726 inventory undertaken at Erddig, and consequently is believed to date from the period 1720-1726. This closely comparable George I side table is illustrated and analysed in A. Bowett, Early Georgian Furniture, 1715-1740, 2009, Woodbridge, fig.'s 5.19 & 5.21, pp.'s 210-211.It is interesting to note that a silvered table of related form, size and proportions was supplied by the cabinet maker John Belchier for the Withdrawing Room at Erddig in 1726, also featuring in Ibid, fig. 5.20, pp.'s 210-211. According to what is recorded in Belchier's bill, this silvered piece of furniture cost John Meller £14 at that time. And the glass top is even engraved and painted with the Arms of the Meller family who then resided at Erddig.Although both of these examples have a number of shared characteristics including distinctive punched grounds, elegant cabriole legs and similar shallow-relief decoration, there are however evident variations as well. The two tops are different whilst the gilt one at Erddig, as with the present model, has an ogee frieze whereas a cavetto one appears on the silvered table. Arguably the latter, despite its beautiful swags running between the front legs and apron (absent on the others), does not incorporate some of the finer details such as the more pronounced and confidently carved scrolls and shallow griffin busts featuring to the tops of the legs on both the offered table and the gilt one at Erddig. In addition, a white bole is evident underneath the surfaces of the silvered table, in place of the dark red bole which was clearly used for the others.Consequently, it seems possible, but definitely by no means certain, that John Belchier was responsible for executing both of the aforementioned upon behalf of John Meller at Erddig. Thus, by extension the same uncertainty likewise applies to the current example too. Regrettably, in the absence of any relevant paperwork, it appears likely that we may never definitively know who made either the Second Best Bedchamber version or indeed the offered version. Unfortunately, this equivocation is only intensified by the fact that Meller also purchased furniture from other cabinet makers like John Pardoe and John Gumley at approximately the same time.At Erddig, pairs of marble topped tables can be found in rooms such as the Hall and Salone. This fact suggests that the gilt Second Best Bedchamber model was perhaps also one of a pair that was commissioned by Meller, and if this was indeed the case then it would mean that the present lot was possibly originally housed alongside its companion in the revered Welsh historic home. But to be clear this is just one of a number of various postulations concerning such furniture.To conclude, Adam Bowett asserts that: 'the design of the Erddig tables is typical of the 'claw' cabriole-leg style which superseded pillar legs from circa 1715 onwards'. He also notes that the gilt model at Erddig had a protective leather cover or case which was standard practice for such tables of this type and period. It is thus a fair assumption that the offered one also had this same type of covering at some point.A further related example sold Christie's, London, 9 December 2010, The Gothick Pavilion - Byron to Beaton, lot 33.LiteratureA. Bowett, Early Georgian Furniture, 1715-1740, 2009, Woodbridge.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

ATTRIBUTED TO CLAUDE MICHEL, CALLED CLODION (FRENCH, 1738-1814) OR PERHAPS JOSEPH CHARLES MARIN (FRENCH, 1759-1834): A TERRACOTTA BUST OF A BACCANTECirca 1800The young female with downcast eyes, her curling hair adorned with a fruiting vine wreath, her head turned slightly to dexter, her right arm adorned with an amulet and her loose drapery exposing her right breast, supported on a swept and beaded gilt bronze circular socle and raised on a 'bleu turquin' marble dwarf plain column pedestal with shallow stepped circular and square gilt bronze base, 32cm high overallFootnotes:ProvenanceThe collection of Sir Michael and Lady Oppenheimer DD (3rd Baronet, British, 1924-2020), Jersey, thence by family descent.Sir Michael Oppenheimer's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire which was the Harvey Baronet's main family seat from 1788 until 1945.Sir Michael's paternal family wealth was derived from mining interests in South Africa and his father Bernard Oppenheimer, as Chairman of the South African Diamond Corporation, received a baronetcy from George V in 1921 for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The Oppenheimer family was involved with the prestigious De Beers brand over the subsequent decades of the 20th century and Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Claude Michel, called Clodion, was perhaps one of the most celebrated European sculptors of the 18th century. Born in Nancy in northeast France, he was a contemporary of Houdon and Fragonard and in his teenage years he travelled to Paris to enrol in the studio of his uncle Lambert-Sigisbert Adam's sculptural studio working on competitions pieces for the Academy. He subsequently enrolled as a pupil at the studio of Jean Baptiste Pigalle (French, 1714-1785) which fortuitously enabled him to win the prestigious Prix de Rome. Leaving Paris in 1762 to travel to Rome, Clodion spent nine years refining his craft and studying the works of the classical world and antiquity and was undoubtedly influenced by the works of his compatriot Poussin. He also importantly acquired several high-profile clients and patrons including Catherine the Great of Russia and the Duc de la Rochefoucauld. Clodion returned to Paris in 1771 upon the request of the Marquis de Marigny, Directeur des Batiments du Roi and established a studio in an area of the city where the Place de la Concorde is now located. He quickly achieved great success and was awarded several important, large-scale commissions. Despite interest in his larger works, it is however his intimate terracotta groups depicting nymphs, satyrs and cherubs such as in the offered lot which perhaps define Clodion's importance as one of the most famous sculptors of the 18th century. These innovative works, often executed in terracotta in a highly recognisable style were heavily influenced by antiquity and his Bacchanalian subjects were defined by incredibly fine modelling and a meticulous attention to detail.Many of Clodion's terracottas are not dated and many were also left unsigned. The current lot depicts a priestess or female follower of the cult of Bacchus typical of Clodion's output in the late 18th and early 19th century. The Bacchante characteristically wears a wreath of finely modelled fruiting vines in her flowing hair, typically celebrating the themes of Bacchus, the god of wine and fertility. The subject, like much of Clodion's work in terracotta reveals the sculptor's fundamental influences - that of classical and antique sculpture which he studied in Rome alongside the work of his fellow compatriot Poussin. Furthermore, the composition of the bust is stylistically very much in the manner of the sculptor, showing the animated character of the sitter including the detail to the curls and locks of her hair, together with individually tooled bunches of grapes.Joseph Charles Marin was a student of Claude Michel and made several attempts to win the Grand Prix de Sculpture before the French Revolution, only winning it in 1801 with a bas-relief of Caius Gracchus leaving his wife Licinia.Although Marin was a pupil of the sculptor Joseph Chinard (French, 1756-1813), Clodion was perhaps a much stronger influence on Marin's early style in the late 18th century although he subsequently went on to adopt a more austere and severe style in the manner of the later neo-classical sculptors.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A late 19th century Italian carved white marble figure of a young sprite riding a seahorsePossibly from the Studio of Galleria Romanelli The young semi-clad boy standing on the back of a sea creature and holding aloft a whip, raised on a crested foaming wave and a moulded oval base, 96cm highFootnotes:Founded in Florence in the mid-19th century by the sculptor Pasquale Romanelli Pasquale (1812-1887), the Galleria Romanelli was one of several studio workshops in the city including Pietro Barzanti and Cesare Lapini that catered to the ever-increasing numbers of tourists visiting Italy in the second half of the century, particularly from England and American and also for the burgeoning export market. Pasquale's son Raffaello later took over the studio and he continued in the family business creating high quality copies of antique sculptures and depictions of the mythological and allegorical subjects that were then highly fashionable and popular. Here the subject of the offered lot is perhaps inspired by the sea myths and legends of Greek and Roman mythology. Romanelli also worked on important commissions for the Italian government and is remembered today for the portraits he produced of kings, popes, and aristocrats, such as his bust of Princess Marina Borghese which is in the collection of the National Gallery of Modern Art in Rome.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A collection of Henry VII and Henry VIII hammered silver coinage, comprising two Henry VII profile issue groats, a Henry VIII profile groat, a Henry VII half-groat, keys below shield, a Henry VII half-groat, facing bust, Canterbury Mint, and two Henry VII sovereign pennies.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Two Bahamas commemorative silver ten dollars commemorating the Fifth Anniversary of Independence, each detailed with the bust of Prince Charles, both slabbed and cased with certificates.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A James I gold double crown, 2nd coinage, 5th bust, mintmark book.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A gem-set brooch/pendant by Franconeri & Co., circa 1960, the ‘blackamoor’ bust with carved face, oval-cut sapphires to the pierced scrolling front, with brilliant-cut diamond highlights to head and robe and step-cut diamonds to the base, stamped ‘750’, Italian maker’s mark, one diamond deficient, length 6.5cm. £1,200-£1,500

INNOCENT IX: (1519-1591) Pope of the Catholic Church and ruler of the Papal States fin 1591. His papacy lasted only two months, one of the shortest ever. Born Giovanni Antonio Facchinetti. Extremely rare L.S., only three documents signed by him have ever been recorded in private hands, signed `G.A. Car.l S.ti-Quattro´, ("G.[iovanni] A.[ntonio] Car.[dina]l S.[an]ti-Quattro"), Cardinal of the Roman Basilica Santi-Quattre-Coronati,one page, folio, Rome, 24th September 1588, addressed to the Vice-Legate of Bolonia, in Italian. The future Pope Innocent IX tries to appoint the uncle of one of his subordinates, member of the powerful Inquisition, into the "Compagnia de Salaroli", stating in part `Intendo che alli mesi passati Messer Evangelista Salicini, zio di Mons.r Salicini che fatica (sic-lavora assidumente) nel S.t Officio, renuntiò il luogo del numero de gli honorevoli huomini della Compagnia de' Salaroli a Ms Hercole, suo figliolo, il quale hora è passato da questa vita  et desiderando esso Ms Evangelista rihaver in persona sua il detto luogo, che per cento et più anni è stato in diverse persone della sua Casa, ritrova in ciò difficoltà per molte prattiche fatte in servitio d'un fumante, ch'è - siccome mi vien detto - incapace del luogo per i Statuti della Compagnia..´ ("I mean that Messer Evangelista Salicini, uncle of Mons.r Salicini who works assiduously in the S.t Officio, takes the place and number of the honoured man of the Compagnia de 'Salaroli, Mr Hercole, his son, who has now passed away from this life and since he wishes Ms Evangelist to have in his own person the said place…") The letter bears to the verso a paper seal affixed, and alongside a draft manuscript in the hand of Anselmo Dandini which was going to be his response to Innocent IX. According to this draft letter, Dandini was pleasing Innocent IX request. Small overall age wear, otherwise G The present letter is addressed to the Vice-Legat of Bolonia, Anselmo Dandini (1546-1608) Jurist and former Apostolic Nuncio in France. Dandini was replacing Alessandro Damasceni Peretti (1571-1623) a nephew of Pope Sixtus V, and future Cardinal at the early age of 14. Well remembered for his impressive bust done by Gian Lorenzo Bernini. Giulio Cesare Salicini (1541-1606) Jurist and member of the Inquisition. Bishop of Rimini from 1591. The Company Salaroli was founded in 1376 and was the original producer, and still is at today´s date, of the worldwide famous Mortadella of Bolonia.

RODIN AUGUSTE: (1840-1917) French Sculptor. A fine A.L.S., A Rodin, one page, 8vo, n.p., n.d., to Bénédite, in French. Rodin refers to his first bronze work "l´Age d´Airain", and states `Vous seriez bien aimable de laisser l´age d´airain dans le Jardin. Quand au buste de Laurens la patine est trop égale, si vous avez le temps et que vous le désirez je pourrai le faire repatiner..´ ("Would you be so kind as to leave l´age d´airain in the Garden. Regarding Laurens' bust the patina is too even, if you have the time and if you wish, I can have it re-patinated") To the left border, in vertical and red ink, Rodin adds `J´espere que j´aurai un exemplaire des dessins reproduits a offrir au musée´ ("I hope that I will get a copy of the reproduced drawings to offer to the museum") Small creasing with a small tear to the left edge, only affecting one word, but not affecting the signature. G L´Age d´Airain is Rodin's first bronze statue, from 1877. It brought him notoriety at the age of 37, prompting government work requests before private petitions multiplied. It is on display at the Musée Rodin and the Musée d'Orsay.

DELACROIX EUGENE: (1798-1863) French Painter. Regarded as the leader of the French Romantic school, he is also considered one of the last old Masters of painting, and one of the few who was ever photographed. Rare lengthy A.L.S., `E. Delacroix´, four pages, 4to, n.p., 1st of December [1829], to Monsieur Felix Guillemardet, in French. Delacroix commences referring to the women and soirées that his correspondent, who is on holiday out of Paris, mentioned in his letter, and states in part `Depuis longtemps tu n´avais tant pris de vacances…je t´avertis que tu es mortel et que les plaisirs sont mêlés d´amertume. Encore, ne sont-elles pas toutes si insipides… tu trouveras, je n´en doute pas, quelques infidélités à faire à ta belle Parisienne, que ta discretion couvre d´un voile mystérieux et louable. On trouve en province de certaines beautés… Il n´est pas rare d´y trouver au milieu de ces troupeaux de niaises prétentieuses… quelque caractère singulier et saillant dans de jolis petits corps´ ("It's been a long time since you took so many vacations… I warn you that you are mortal and that pleasures are mixed with bitterness. Still, aren´t they all so insipid… you will find the way, I have no doubt, to make some infidelities to your beautiful Parisian couple, whom your discretion covers with a mysterious and praiseworthy veil. You can find in provinces certain beauties… It is not rare to find there in the middle of these herds of pretentious fools… some singular and salient character with pretty little bodies") Delacroix further refers to a painting he is not starting yet, and refers to his mood and his artist self-esteem, and states `J´ai là dans mon atelier depuis plusieurs jours une grande toile encore toute blanche et vierge;…Tu chatouilles mon amour-propre d´artiste avec le succès… je me croirai bientôt moi-même un ancient..´ (" I have there in my studio for several days a large canvas still all white and blank;... You tickle my self-esteem as an artist mentioning success... I will soon believe myself an ancient...") Delacroix writes his fourth page to the upper and lower borders of the address leaf, bearing a red wax seal in fine condition, showing a bust portrait. Overall creasing, otherwise G 

NANSEN FRIDTJOF: (1861-1930) Norwegian Arctic explorer and polymath, Nobel Peace Prize winner 1922. An excellent, large vintage signed and inscribed sepia 12 x 10 photograph, the image depicting Nansen seated in a full-length profile pose at the desk in his study at Polhogda, the large house which was built to his design in Lysaker. Nansen is surrounded by various possessions including ornately carved chairs, several rows of bookshelves, a globe, marble bust, and with a typewriter and numerous papers on his desk. Signed in fountain pen ink to a clear area at the head of the image, 'Dr. Vaughan Harley, with the kind regards of Fridtjof Nansen'. The photograph (11 x 8.5) is neatly mounted to the original card mount with decorative printed borders. Signed photographs of Nansen of this size are scarce and desirable. Some very light, minor mottling to the image and a few light stains to the mount, otherwise VG Edward Vaughan Harley (1864-1923) British Professor of Pathological Chemistry at London University 1896-1919. Vaughan Harley had previously studied in Paris with Louis Pasteur and Pierre Paul Emile Roux. 

Quantity of costume jewellery to include beaded necklaces, etc, set of six foreign silver-coloured metal teaspoons set with bust to finials, in fitted box and plated flatware in case (3 boxes) 

A 1960s portrait of a lady, bust length, signed indistinctly & dated '69 upper right. Oil on board, in painted rectangular frame, 27¾” x 23¼” overall.

A 19th century portrait miniature of a lady, bust-length, wearing feathers & ribbon-bow in her hair & red jacket with blue lapels, pencil & watercolour on paper 6”x 4½”, in gilt oval frame inscribed verso “Elizabeth Oliver, Mrs Coote of Mount Coote, Kilmallock” (7”x5” overall).

LUCIUS GAHAGAN (1773-1825) A painted plaster bust of a lady, looking to her right with short curled hair in a headscarf, on round socle, signed & dated 1825 to reverse, 14¼” high x 10” wide.

A 19th century French terracotta bust of a boy after Houdon, on gold-painted socle, inscribed “R. D’Arly, Paris” to underside & “Houdon” to the reverse, 7¾” high.

A carved shall oval cameo brooch depicting a female bust, 1¾” x 1½”, in yellow metal wide mount marked: “9ct.”; with safety chain; 2¼” x 1¾” over-all.

Thunderbirds – Gerry Anderson – Robert Harrop – a resin figure / statue TBHG02 ' Virgil Tracy Bust ' Limited Edition 150. Highly detailed model sign based on the classic Supermarionation series. Statue appears mint, with no damage. Note; from a large collection of Robert Harrop & other statues / figurines. Condition is stated within each description, however buyers are reminded that such statements are not forensic reports and all items will remain sold 'as is'. As a rule, statues do appear mint and undamaged, but this is not guaranteed. Boxes range in condition, and some have wear from storage. In all instances buyers are required to satisfy themselves. Certificates / paperwork are present if photographed, if there are no photographs of certificates then one isn't present.

1st century B.C.-1st century A.D. A large ceramic oil lamp with large pierced lug handle, broad body and volute scroll flanking the nozzle; discus with a bearded facing male bust flanked by wings (possibly Zeus), annulets and feathers on the shoulder. Cf. M?ynarczyk, J., ‘Terracotta oil lamps from qumram: The Typology’ in Revue Biblique, January 2013, T.120-1, pp.99-133, fig.5, lett. AF8. 280 grams, 16 cm (6 1/4 in.). Acquired 1990s. Private collection of a Cambridgeshire, UK, gentleman. In terms of the shape, this lamp is clearly a mould-made counterpart/development of the wheel-made 'Herodian' lamps. The shoulders of this category are usually adorned by a floral wreath (but here geometric patterns are predominant), and they have volutes or fins projecting at the joint, also repeated on the underside of the nozzle. P. Lapp describes the type as the decorated “Herodian” lamp and dates it to 50-31 BC. Smith, while discussing this type of lamp from Qumran, not only states that it was found in a pre-31 B.C. context, but also points to a number of Hellenistic features, including the decoration of laurel leaves and berries reminiscent of some Ephesian-type lamps. Contrary to that, Rosenthal and Sivan date the beginning of the type much later, to A.D. 70-75.

3rd-4th century A.D. A squat terracotta oil lamp with thick nozzle and lug handle, band of leaves and bunches of grapes to the discus, surrounding a bust of Serapis with modius and radiate crown; maker's initials to the underside 'S. S. L.'. See Bussière, J., Lindros Wohl, B., Ancient Lamps in the J. Paul Getty Museum, Malibu, 2017, p.349, for the type, close to the Atlante VI. 145 grams, 12.2 cm wide (4 3/4 in.). Ex London gallery 1980s. From the collection of a deceased Lancashire gentleman. Serapis was a Graeco-Egyptian god, whose cult was popularised during the 3rd century B.C. on the orders of Ptolemy I of Egypt, to facilitate the religious syncretism of his kingdom. During the Roman Empire his image was widely diffused in the east, and the image of Zeus-Serapis was often fitted with the radiate crown, linking it with the cult of Sol Invictus; the position as the main divinity of the Roman Pantheon strengthened by Lucius Domitius Aurelian (270-275 A.D.).