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Lot 51
Italian school, ca.1900."Woman crossing the river".Alabaster.Measurements: 80 cm. high.Modernist sculpture representing a young woman who, with bare feet, steps on some stones on which she crosses the rapid waters of a river. With a gentle gesture, she gathers her dress, revealing her graceful, shapely legs, which harmonise with the delicacy of her smooth bust and her fine features. In a manner typical of modernist art, the carver plays with the curved forms of the folds of the dress, which in turn dialogue with the sinuous fall of the wavy hair.
Lot 121
18th Century mahogany Jewish portrait panel depicting the bust of 'Flavius Josephus'; the bust recessed in an oval surround inscribed with name to the top and raised on a brick-work pedestal having a shield emblazoned with the mask of medusa, an open book with the indistinct inscription dated 1791, flag & flaming urn. Believed to be carved after a 1732 edition of translated Josephus works featuring a printed illustration of the subject from which the carving is based, 15.5cm wide, 25cm highFootnote:Flavius Josephus was a first-century Romano-Jewish historian and military leader, best known for The Jewish War, born in Jerusalem then part of Roman Judea, to a father of priestly descent and a mother who claimed royal ancestry.He initially fought against the Romans during the First Jewish–Roman War as head of Jewish forces in Galilee, until surrendering in 67 CE to Roman forces led by Vespasian after the six-week siege of Jotapata. Josephus claimed the Jewish Messianic prophecies that initiated the First Jewish–Roman War made reference to Vespasian becoming Emperor of Rome. In response, Vespasian decided to keep Josephus as a slave and presumably interpreter. After Vespasian became Emperor in 69 CE, he granted Josephus his freedom, at which time Josephus assumed the emperor's family name of Flavius
Lot 438
A magnificent and rare Henry VIII joined oak aumbry or livery cupboard, circa 1520, the front following a traditional arrangement for enclosed livery cupboards dated to the first-half of the 16th century - divided into three horizontal sections or registers, the top row with a central intertwined foliate carved panel, flanked by a pair of pierced gothic tracery and ‘Tudor-rose’ carved doors, the middle-section having a pair of blind fretwork short drawers, the lower-section with a matching pierced and carved door, flanked by a pair of 'Romayne'-type profile bust panels, on stile supports, the sides with four linenfold-carved panels, good iron lockplates, 133cm wide, 60.5cm deep, 144cm high The rarity of this high-status cupboard is enhanced by the presence of drawers. Drawers were seldom found on late 15th to early 16th century English furniture. Furthermore, they are normally comparatively crude, with the drawer(s) simply running on a baseboard or supported either on carcase rails and/or a simple under- bearer. Here, however, the drawers are supported not only by the frame, but importantly by the edges of their base boards. Both drawer side linings are inset, allowing the baseboard edges to be exposed and engaged within grooved drawer runners fitted to the frame of the cupboard. This method of construction allows for smooth operation of the drawers. For related early 16th century English cupboards, having a similar three-level arrangement of drawers, fixed-panels and cupboard doors, see: Murray Adams-Acton, Apollo, 'Early Oak cupboards and Hutches', May 1933, pp. 181 - 186. The Burrell Collection, Glasgow, has no less than six comparable cupboards. Two of them have linenfold panelled sides [Museum Nos. 14.416 & 14.425], one has pierced cupboard doors [museum no. 14.417], and another has similar tracery carving [Museum No. 14.417]. The remaining two cupboards are both highly celebrated examples - one [museum no. 14.413] is illustrated in Murray Adams-Acton, Domestic Architecture and Old Furniture (1929), p. 46a, fig. 82a and again in Ralph Edwards, The Dictionary of English Furniture (1986), Vol. II, p. 184. The other, known simply as the 'Wynn Cupboard' [Museum no. 14.436], has the addition of a canopy superstructure, but again with the same arrangement of cupboards and drawers. It was made for John Wyn ap Maredudd (d. 1550), of Gwydir Castle, Conwy Valley, around 1525- 1545. This cupboard is illustrated in Percy Macquoid, A History of English Furniture: The Age of Oak (1925), colour plate III, and again in Richard Bebb, Welsh Furniture 1250 - 1950: A Cultural History of Craftsmanship and Design (2007) Vol. I. p. 202, pl. 325. A cupboard carved with Romayne profile busts is in the Victoria and Albert Museum, London, [Museum No. W.11-1986]. One further example, but only a cupboard front, is in the collection of Cotehele House, Cornwall, [NT347771], illustrated ibid. p. 161. Simonini collection
Lot 272
A collection of Victorian and later silver and white metal jewellery and watches, including an oval locket the front with a cusped-panel with gold flower and leaf highlights, between raised floral and wirework panels, hallmarks rubbed probably Birmingham 1891, approximately 50mm high; an Indian embossed white metal tapering round parasol handle, 5.5cm long; a Continental white metal fancy link, elaborate panel and purple-paste guard length necklace with a swivel clasp, approximately 142cm long overall; hung with three monkeys and a pendent trefoil mirror, the sliding cover pierced and embossed with an Art Nouveau female bust, 34mm wide; two pendant medallions, an oval cabochon sardonyx ‘bullseye’ cabochon bar brooch; A Swiss silver cased open-face keyless fob watch; a Continental rectangular portrait miniature brooch with a tiny seed-pearl.
Lot 60
Group of six American medalets featuring busts of Abraham Lincoln and George Washington respectively engraved by William Barber and Anthony Paquet. Two with the bust of Lincoln on the obverse and the reverse with a broken column and American flags. Two with busts of Washington on the obverse and the reverse with his birth and death dates. Two with the bust of Washington on the obverse and the bust of Lincoln on the reverse.Each; Diameter: 18 mm
Lot 51
Group of 29 1893 Columbian half dollar coins featuring a bust of Christopher Columbus surrounded by "UNITED STATES OF AMERICAN * COLUMBIAN HALF DOLLAR" one one side with the reverse featuring a port view of the Santa Maria above two hemispheres flanked by the date 1492 and surrounded by "WORLD'S COLUMBIAN EXPOSITION CHICAGO * 1893." These coins were issued to raise funds from the Chicago 1893 World's Columbian Exposition and to commemorate the quadricentennial of Christopher Columbus' voyage to America.(Each) Diameter: 30 mm.
Lot 52
Group of 14 Booker T. Washington Memorial Half Dollars. The obverse features a portrait of Booker T. Washington. Inscribed with "UNITED STATES OF AMERICA, BOOKER T. WASHINGTON, HALF DOLLAR, E PLURIBUS UNUM" and the year. The reverse features the log cabin in which he was born. Inscribed with "BOOKER T. WASHINGTON, BIRTHPLACE MEMORIAL, LIBERTY, FROM SLAVE CABIN TO HALL OF FAME, IN GOD WE TRUST, FRANKLIN COUNTY VA."Group of 27 1893 Columbian half dollar coins featuring a bust of Christopher Columbus surrounded by "UNITED STATES OF AMERICAN * COLUMBIAN HALF DOLLAR" one one side with the reverse featuring a port view of the Santa Maria above two hemispheres flanked by the date 1492 and surrounded by "WORLD'S COLUMBIAN EXPOSITION CHICAGO * 1893."Each; Diameter: 31 mm
Lot 47
Group of two coins depicting George Washington in profile. Both coins with the bust of George Washington in profile encircled by "WASHINGTON PRESIDENT" and the reverse with the United States' eagle and shield with "ONE CENT" above it. One coin with 1791 along the obverse under the bust with a large eagle on the reverse. One coin with 1791 along the reverse under the eagle.(Small) Diameter: 1 1/8 in. (Large) Diameter: 1 1/8 in.
Lot 90
Royal blue satin silk polonaise or promenade style dress, ca. 1880s-1890s. The dress is one piece, but has been made to look like two pieces. There is an inset vest of shirred and brocade ivory satin with ruching at the neckline and cuffs. The blue satin silk is ruched along the hem.Shoulder: 15 in x bust: 34 in x waist: 30 in x arm: 21 in x dress length (shoulder to hem): 57 in.
Lot 88
Black and ivory chevron satin striped gown, made up of skirt and bodice, ca. 1900. Yellow and purple floral designs adorn the sleeves, bodice, and hemline. Additionally ornamented with black lace along the neck, sleeves, and hem.Shoulder: 14 in x bust: 33 in x waist: 24 1/2 in x arm: 17 in x skirt length: 40 in.
Lot 53
Group of 12 United States of America fractional currency including one Meredith 10 cent with a green seal, one Crawford 50 cent, one Meredith 10 cent with a short key, one 5 cents with a bust of Clarke, one Washington 50 cent with a postage stamp design, one Washington 3 cent with a dark curtain, one Liberty 10 cent with a plain end, one Washington 50 cent with a carmine back, one Washington 25 cent, one Washington 10 cents, one Washington 5 cents with a brown back, one 10 cent green postage stamp. Including seventeen partial scraps of currency.Height ranges from 1 1/4 in to 3 1/4 in; Width ranges from1 3/4 in to 4 3/4 in
Lot 46
One undated Washington success token featuring a bust of George Washington encircled by "GEORGE WASHINGTON" on one side and the reverse with an eye of providence with fifteen rays emanating from the center surrounded by "SUCCESS TO THE UNITED STATES." One Fugio cent, designed by Benjamin Franklin and often referred to as a Franklin cent, featuring a sun and sundial surrounded by "FUGIO 1787 MIND YOUR BUSINESS" on one side and the reverse with 13 chain links surrounding "UNITED STATES WE ARE ONE" in the center. The Fugio cent was the first official circulation coin of the United States of America.(Fugio) Diameter: 27 mm. (Success Token) Diameter: 25 mm.
Lot 45
Group of three coins featuring the bust of George Washington in profile wearing a laurel wreath encircled by "WASHINGTON & INDEPENDENCE. 1783". Two coins feature a personification of Liberty on the reverse with "UNITED STATES" above it. One coin with "ONE CENT" along the reverse encircled with a wreath and "UNITY STATES OF AMERICA 1/100".(Each) Diameter: 28 mm.
Lot 49
One 1800 funeral Washington Republic American penny or token. Featuring a profile bust of George Washington surrounded by "GEORGE WASHINGTON" and "BORN FEB. 11. 1732. DIED DC. 21. 1799." The truncation of the arm bears the signature "WYON." The central image shows a crossed canon and a fasces bundle representing military and governmental power. A scroll reads "REPUB. AMERI." Surrounding this in three concentric lines is the legend: "+ GENL. OF THE AMERICAN ARMIES RESIGND. THE COMMD. 1783: / ELECD. PRESIDENT OF THE UNITED STATES 1789 + / RESIGNED THE PRESIDENCY 1796 +" This unique coin is one of a few specimens minted in white metal rather than copper.Diameter: 31 mm.
Lot 50
Group of three early American coins including: one 1652 Pine Tree Shilling with an image of a pine tree surrounded by "MASATHUSETSIN" on the obverse and on the reverse "NEW ENGLAND. AN. DO. surrounding "1652 XII"; two 1787 Connecticut tokens with a bust of a man in profile wearing a laurel wreath encircled by "AUCTORI. CONNEC" and the reverse with the personification of Liberty encircled by "INDE. *** ET. LIB."(Each) Tokens; Diameter: 28 mm. Pine Tree Shilling; Diameter: 25 mm.
Lot 43
Group of three early American coins. One Massachusetts half cent depicting a Native American holding a bow and arrow encircled by "COMMON * WEALTH" and the reverse with a United States shield and eagle encircled by "MASSACHUSETTS. HALF CENT 1788". One Massachusetts cent depicting a Native American holding a bow and arrow encircled by "COMMON * WEALTH" and the reverse with a United States shield and eagle encircled by "MASSACHUSETTS. CENT 1788". One Connecticut half cent with a bust of a man in profile wearing a laurel wreath encircled by "AUCTORI. CONNEC" and the reverse with the personification of Liberty encircled by "INDE. *** ET. LIB."(Half Cent) Diameter: 24 mm. (Cent) Diameter: 28 mm. (Half Cent) Diameter: 27 mm.
Lot 89
Merlot Larcheveque Parisian style red velvet bodice and skirt, ca. 1880s-1890s. The hem, collar, and cuffs of the bodice are adorned with a gold, white, orange, and red scrolling design. The cuffs have a white lace detail. There is a green pleated strip of satin on the bodice embroidered with branches, leaves, and flowers.Shoulder: 12 in x bust: 35 in x waist: 24 1/2 in x arm: 23 in x skirt length: 42 in.
Lot 20
Dutch school; second half of the 17th century."Portrait of a lady.Oil on copper.Measurements: 4,5 x 4 cm.Portrait of young girl in miniature, which represents the bust of the protagonist who is in the centre of the composition, arranged in a strict frontality. From the Renaissance, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or objects of gift as they were mounted like jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or card and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
Lot 399
Numismatics - A small collection of Ancient coinscomprising Mugul Empire Akbar the Great 1556-1605 AD, AE Dam (Greatest Emperors, most of Sub-Continent); Nabataea c. 40 AD, AE 17mm, bust of King Aretas IV and Queen Shaqilath; Crusader Kingdom, c. 13th AD, AR Denier Cross Pattee, reverse Castle Tournis; French 1350-1400 AD, AE Jaton token, French Coat of Arms, reverse Cross. (4) * Please note that Martel Maides Auctions are not experts in this field and descriptions have been partially taken from the collection notes provided by the vendor. Please satisfy yourself as to the accuracy of descriptions, originality and condition before bidding from the photographs provided. We will be pleased to answer any queries as best we can.
Lot 753
A French Art Nouveau brass easel back hat-pin stand with applied female portrait and floral decoration, stamped 'DEPOSE', 3¾in. (9.5cm.) high when open; together with a silver golf club hatpin; Egyptian niello hatpin & yellow metal faceted horseshoe stick pin; and three others to include a cased yellow metal version with central white stone and applied portrait bust. (qty)
Lot 132
After Emmanuel Villanis (1858-1914) - a powdered stone Scheherazade bust of a woman in the Art Nouveau style, bears incised signatures to back and base edge 26cm h A/F, along with a plaster bust of Chopin, Caithness glass paperweights, Murano millefiori paperweight, patinated bronzed metal sculpture, brass bell, and other items Location: 8.1
Lot 28
Pair: Corporal Kapermoto, 2nd Central Africa Regiment Central Africa 1891-98, 1 clasp, Central Africa 1894-98 (Cpl. Kapermoto. 2/B.C.A. Rif:) engraved naming; Ashanti 1900, no clasp, high relief bust (56 L. Cpl. Kapermoto. 2nd C. Africa Regt.) impressed naming, the first with slack suspension, contact marks, otherwise nearly very fine (2) £700-£900
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110041 item(s)/page