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Lot 291
A lot comprising alabaster busts of Beethoven and Mozart, both signed A. Gianelli, a brass figure of David, a copper bust of Napoleon, A Limoges Fabrique et Decore blue and gilt lidded jar, a glazed studio pottery two-handled vase incised S to base etc Condition Report: Not available for this lot
Lot 242
Ⓦ A COPTIC BONE CARVING OF BUST OF A WOMAN, CIRCA 3RD - 5TH CENTURY AD a fragmentary bust of a woman, her hair and drapery partially preserved 6.5cm x 2.3cm Provenance: Gustave Mustaki. The Mustaki Collection was exported under licence from Egypt to London in the late 1940s. With Finch & Co, London, 2005. All proceeds to benefit The Wallace Collection
Lot 270
MICHELANGELO: AFTER DANIELE DA VOLTERRA (CIRCA 1509-1566) an Italian patinated bronze bust cast by the Fonderia Artistica Ferdinando Marinelli, Florence, late 20th century, based on the artist's death mask, the truncation signed in the bronze 'Fu Se Ferdinando Marinelli Firenze, 55cm high excluding white striated black marble socle; together with a composition columnar pedestal, modern, simulating bronze, with fluted pillar between a square base and top 174cm high overall
Lot 398
AN ENGLISH ENAMEL SMALL BOX, SOUTH STAFFORDSHIRE, CIRCA 1765 circular, painted with a roundel of a young woman in a pink dress surrounded by puce scrolls, the waisted sides with raised flower sprays, gilt-metal hinge mounts, collector's label to underside, 6cm diameter; together with two enamel patch boxes, South Staffordshire, 1770s, oval and with brass hinge mounts, one decorated with a bust of a fashionable young lady clutching a lap-dog, one painted with a young girl in a pink dress in rustic setting, 5.5cm longest (3) Provenance for first box: Gerald Poynton Mander (1886-1951), antiquarian and collector of Staffordshire enamels, according to label Collector's No. 202.
Lot 403
A GROUP OF FOUR ENGLISH ENAMEL PATCH BOXES, SOUTH STAFFORDSHIRE, LATE 18TH CENTURY oval, brass hinge mounts, one lid decorated with a jolly toper seated on a barrel surrounded by the couplet 'May all Nations be free. / and happy as me' above a pale green body, one painted with the bust of a red cheeked bearded man below the inscription 'Laughing' above a pale blue body, one painted within a pellet border with a half length old man below the motto 'Pity the sorrows of poor old MAN' above cobalt blue sides, and one painted within a pellet border after Isaac Taylor (1730-1807) with the 'Sad historian of the pensive Plain' above cobalt blue sides 5.5cm longest The scene on the last box is taken from Isaac Taylor's vignette for the title page of the first edition (1770) of Oliver Goldsmith's 'The Deserted Village', a pastoral poem lamenting rural depopulation resulting from land enclosures. It depicts the old woman featured in the poem showing the poet a deserted homestead whilst in the background a ship carries away rural emigrants to pastures new.
Lot 411
A GROUP OF FIVE ENGLISH ENAMEL PATCH BOXES, SOUTH STAFFORDSHIRE, EARLY 19TH CENTURY each decorated with a portrait bust of a Coalition War figure, oval, one lid titled 'MARQUES WELLINGTON' above blue waisted sides, one 'MARQIUS OF WELLINGTON' above pink lobed sides, one 'ALEXANDER 1st EMPEROR OF RUSSIA' above pink lobed sides, one 'MARSHAL BLÜCHER' above a blue body, and one 'FREDERICK WILLIAM KING OF PRUSSIA' above a green lobed body 5cm longest
Lot 422
TWO ENGLISH ENAMEL PATCH BOXES COMMEMORATING LOUIS XVI, SOUTH STAFFORDSHIRE, LATE 18TH CENTURY oval, metal hinge mounts, one lid transfer printed with a bust of the king below the legend 'LOUIS XVI' above a bright blue body, the other with a painted scene of the king's execution below the legend 'La Guillotine' within a white pellet and gilt border and above blue sides 5.3cm long Another patch box painted with the same execution scene but bordered by the inscription 'He died Lamented by all / Good Men' is held by the British Museum, No.1987, 0708.1.
Lot 424
A GROUP OF SIX ENGLISH ENAMEL 'PATRIOTIC' PATCH BOXES, SOUTH STAFFORDSHIRE, LATE 18TH / EARLY 19TH CENTURY oval, one lid decorated with Britannia and a lion before a battleship under the banner 'NELSON / VICTORY' within a laurel wreath above a puce frond and green leaf painted body, one decorated with a view below the banner 'GIBRALTAR' above a pale blue body, one commemorating the marriage of the Duke of York and Princess Frederica of Prussia in 1791 and painted with shaking hands surrounded by the legend 'The HAPPY Union / of England & Prussia' above blue waisted sides, one with a sun rayed crown, fronds and sceptre and the legend 'KING / AND / CONSTITUTION' above pale blue lobed sides, one inscribed 'Sacred / to the memory / of George III. / Obit 1820 / Aged 82' above a pale blue lobed body, and the last circular and printed with a portrait bust of 'GEN CORNWALLIS' surrounded by the couplet 'Cornwallis is just / And true to his trust' above a blue body 5.4cm longest
Lot 464
AN ITALIAN SARDONYX CAMEO OF OMPHALE, PROBABLY ROMAN CIRCA 1810-20 carved in relief through the brown band of the floral headband and the attribute of Hercules' Nemean lion on her shoulder to the white of the young woman's dexter profile, hair and draped shoulders against the almost black oval base, 38 x 28mm, perhaps later set in an unmarked gold brooch mount with a band of pearls between a corded border and a scalloped milled rim, 49 x 37mm Provenance: The Estate of Mrs Harriet Bull Pitman (nee Brown, 1922-2019), of the 'Brown-Goodwin' House in Marblehead Old Town, Massachusetts. The house was purchased in 1832 by William Peach Brown (1780-1838), son of Captain John Brown, a privateer during the American Revolution. It remained in the Brown family for six succeeding generations. Omphale, a Lydian queen, became the wife of Hercules. Following advice from the oracle at Delphi, the hero was enslaved in recompense for the slaying of Iphitos; purchased by Omphale, his strength and beauty resulted in their marriage upon his release. The hairstyle with floral headband and strongly Neo-classical profile of this cameo bear close affinities with the 'Ideal Head' of Antonio Canova (1757-1822), presented by the sculptor to the Duke of Wellington, which arrived in England in 1818. One of four 'Ideal Heads' epitomising female beauty, the bust at Apsley House also resembles the head and hairstyle of Canova's 'Dancer', commissioned by Josephine Bonaparte and now at the Hermitage Museum in St Petersburg. The quality of carving displayed by the present cameo was undoubtedly carried out by a master of the glyptic arts; for comparisons with signed works by Nicolo Morelli (1771-1838), renowned for his work for Napoleon and the Bonaparte family, see Bonhams, London, 12 Nov 2020, lot 12, similarly brooch-set with pearls. Also see for another, similarly mounted, Sotheby's, 20 March 2018, lot 182, and one of Bacchus, Bonhams, London, 25 April 2012, lot 21. For an unsigned cameo, attributed to Morelli, see Sotheby's, London, 9 July 2020, lot 64. The Roman studio of Morelli were not alone in producing high quality cameos however; for the work of Giuseppe Girometti (1780-1851) see the British Museum, No. 1978,1002.249, or for that of Angelo Angelo Amastini (1754-1815) see Lempertz, Cologne, 17 November 2016, lot 35.
Lot 147
A MAJAPAHIT TERRACOTTA FRAGMENTARY BUST OF A MAIDEN, JAVA, CIRCA 14TH CENTURY with elaborate coiffure, her right hand raised, wearing large disc earrings, 11cm high excluding stand; together with a Majapahit terracotta head of Hanuman, Java, circa 14th century, with protruding lips and frowning expression, wearing disc earrings, 9cm high (2) Provenence: Private Collection, London
Lot 152
A VOLCANIC STONE BUST OF A DEITY, DIENG PLATEAU, JAVA, CIRCA 9TH CENTURY from a relief panel, wearing tiara, necklace and large earrings 25.5cm high Provenance: Private Collection, London. Acquired in the 1980s. For related stone heads from Dieng, see A. J. Bernet Kempers, Ancient Indonesian Art, pls. 28 & 32.
Lot 93
George V Army Long Service Good Conduct Medal Royal Artillery, field marshal bust, awarded to “1405046 SJT S L CARTER RA”; George V Army Long Service Good Conduct medal with Regular Army suspender, awarded to “1038869 BMBR J H HUTCHINGS R.A”. Medal is polished and shows some wear. (2 items) Sydney Lawrence Carter was born in Birmingham in 1890, he attested in the Royal Artillery 1909. He served during WW1 and was awarded the British War and Victory medals. He was discharged 23rd March 1928. John Harold Hutchings was born in St Simons, Jersey in 1895, he attested for the Royal Artillery in August 1915. He had the previous service number of 107862, he served during the Great War and was awarded the British War and Victory medals whilst serving as a Driver with the Royal Field Artillery.
Lot 104
An English 'Mortuary' Hilted BackswordMid-17th CenturyWith single-edged blade (tip reduced) tapering towards the double-edged point and cut with two fullers along the back over most of its length, the fullers on both sides near the forte stamped respectively 'JOHANNIS' and 'MEIGERH', iron hilt comprising solid guard chiselled with portrait busts between trophies of arms, short scrolled wrist-guard, knuckle-guard flanked by three diagonal bars (two replaced) to bifurcated side-bars, the latter each chiselled with a portrait bust and foliage, the top of the knuckle-guard and side-bars screwed to the globular pommel chiselled en suite with the guard, and original writhen wooden grip retaining much of its original twisted copper wire binding (Turk's heads missing, pitting overall) 90.2 cm. bladeFor further information on this lot please visit Bonhams.com
Lot 177
A Brescian 40-Bore Flintlock Belt-PistolPartly Late 17th CenturyWith 18th century Tusco-Emelian two-stage barrel turned at the girdle, octagonal breech inlaid at each end with three inlaid brass panels all engraved with repeated foliage against a punched ground, and centred on a silver portrait medallion (worn) framed by double line borders, rounded lock chiselled in the Brescian manner with scrolling foliage on the tail, pierced rounded cock en suite and with a female portrait bust on the back of the comb, later figured full stock with fluted fore-stock, steel mounts and panels (secured by later screws) chiselled in low relief with interlaced scrolling foliage partly inhabited by monsters, the mounts comprising side-plate, tang plate, compressed ovoidal pommel, trigger-guard, trigger-plate, fore-end cap and ramrod-pipe, replacement belt hook, and ramrod, the tip chiselled in the round as a monster with flower-head terminal on its tail 29.9 cm. barrelFor further information on this lot please visit Bonhams.com
Lot 204
A Cased Colt 1849 Model Pocket Percussion RevolverNo. 95113 For 1854The barrel with two line New York City address, cylinder with roll engraved stagecoach hold-up scene, silvered trigger-guard and back-strap, and matching serial numbers (the steel parts now a dull grey finish, some areas of minor pitting): in original mahogany case (exterior of lid with old splits) fitted and lined in burgundy velvet (minor damage and old staining) with powder-flask embossed on both sides with a profile bust of Washington within a medallion surmounted by an American eagle, and brass bullet mould 12.7 cm. barrelFor further information on this lot please visit Bonhams.com
Lot 116
Anatomisches Modell in Bronze, wohl deutsch, um 1900 Vollplastisch und anatomisch korrekt ausgeführter Bronzeguss, teilweise fein ziseliert und mit honigfarbener Patina. Interessantes Sammlungsobjekt, wohl als Memento Mori gearbeitet. Leichte Altersspuren. Bronze teils berieben. Maße ca. 5 x 8 x 10 cm.Zustand: I - IIA probably German anatomical bust in bronze, circa 1900 Foully round and anatomically correct bronze cast, partly finely engraved. Brownish patina. Interesting collectible object, probably intended as a memento mori. Minor traces due to age. Patina partly worn. Dimensions circa 5 x 8 x 10 cm.Condition: I - II
Lot 513
Miniaturbüste einer Frau, violetter Amethyst, parthisch, 2. - 1. Jhdt. v. Chr. Fein in hellenistischem Stil gearbeitete Büste aus durchscheinendem Amethyst. Das Haar durch ein Band gehalten. Unten fast halbmondförmiger Abschluss der Figur durch ein Gewand, das von den Schultern unterhalb der Brüste entlangführt. Kaum Einschlüsse im Stein. Hervorragendes Zeugnis früher parthischer Kunst. Intakt. Höhe 3,9 cm. Gewicht 12,5 g. Provenienz: Aus rheinland-pfälzischer Sammlung, übernommen vom Vater.Zustand: IIA rare Parthian female bust, 2nd - 1st century B.C. Finely crafted bust in Hellenistic style of translucent amethyst. The hair is held in place by a ribbon. At the bottom almost crescent-shaped completion of the figure by a garment running from the shoulders and below the breasts. Hardly any inclusions in the stone. Excellent example of early Parthian art. Intact. Height 3.9 cm. Weight 12.5 g. Provenance: Private collection in Rhineland-Palantine, by descent from the father.Condition: II
Lot 536
Porträtfibel mit dem goldenen Bildnis des Antoninus Pius, römisch, Mitte 2. - 3. Jhdt. Außergewöhnlich seltene ovale Fibel aus Silber. Der aufwendig gestaltete, rund 8 mm breite Rahmen durch die Köpfe von vier Nietstiften in Viertel geteilt. In jedem Viertel je ein fein gravierter Fisch und eine punzierte Rosette; außen mit Banddekoration. Die zentrale Schaufläche in Gold. Darauf in flachem Relief im Profil nach rechts das Bildnis des Kaisers Antoninus Pius (138 - 161 n. Chr.). Dieser ist mit einem Lorbeerkranz bekränzt. Rahmen graviert und gepunzt. Stellenweise mit leichten Verkrustungen. Intakt. Maße 4,7 x 4 x 0,5 cm (ohne Nadel). Mit Zertifikat der Oxford Labs (Materialanalyse) und einem Auszug aus dem Art Loss-Register. Der Adoptivkaiser Antoninus Pius zählt zu den angesehensten römischen Kaisern. Die antiken Historiker wissen relativ wenig aus seiner Herrschaftszeit zu berichten, ein Zeichen, dass Frieden und Wohlstand herrschten. Antiken Autoren zufolge besaß er ein breites Gesicht mit wohlgestalteter Nase und dunklen Augen. Haupthaar und Vollbart waren (später) grau, seine Hautfarbe weiß und rötlich. Die Stimme wird als kräftig und klangvoll, die Miene als würdig und ernst, doch stets freundlich beschrieben. Sein Nachfolger Marc Aurel nahm ihn sich zum Vorbild und hob in seinen Selbstbetrachtungen unter anderem dessen treue Pflichterfüllung und die anspruchslose, von allem Ehrgeiz freie, unermüdliche Tätigkeit für das Gemeinwohl hervor. Ein exzeptionelles Stück. Provenienz: Süddeutsche Privatsammlung. Zuvor Privatsammlung London, erworben in den frühen 1990er Jahren in London.Zustand: II -A Roman brooch with the golden portrait of Antoninus Pius, mid-2nd - 3rd century Exceptionally rare oval silver fibula. The 8 mm wide frame is divided into quarters by the heads of four rivet pins. In each quarter a finely engraved fish and a punched rosette; ropework border. A gold repoussé profile bust of Emperor Antoninus Pius (138 - 161 A.D.) in the center. His head to the right with a laurel wreath. Frame engraved and punched. Slightly encrusted in places. Intact. Dimensions 4.7 x 4 x 0.5 cm (without pin). Accompanied by certificates both of the Oxford Labs (material analysis) and the Art Loss Register. The 'Adoptive emperor' Antoninus Pius counts among the most respected Roman emperors. The ancient historians know relatively little about his reign, a sign that peace and prosperity prevailed. According to ancient authors, he had a broad face with a well-shaped nose and dark eyes. His hair and full beard were (later) grey, his skin colour white and reddish. His voice is described as strong and sonorous, his expression as worthy and serious, but always friendly. His successor Marcus Aurelius took him as a role model and in his self-reflections he emphasized, among other things, his faithful fulfillment of duty and his undemanding, untiring work for the common wealth, free of all ambition. An exceptional fibula. Provenance: South German private collection. Previously in a collection in London, acquired in London in the early 1990s.Condition: II -
Lot 577
Bronzebüste des Kaisers Lucius Verus Büste des Lucius Aurelius Verus (Kaiser 161 - 169 n. Chr.) nach römischem Vorbild. Schwarz patinierte Bronze auf rundem Messingsockel. Sehr dekorativ! Gesamthöhe 25 cm. Vgl. etwa das Portrait des Lucius Verus im Louvre (MR 550/Ma 1170). Vgl. K. de Kersauson, Catalogue des portraits romains, II, Paris 1996, Nr. 122, S. 272.Zustand: II +A bronze bust of emperor Lucius Verus Bust of Lucius Aurelius Verus (Emperor 161 - 169 A.D.) after a Roman model. Black patinated bronze on a round brass base. Very decorative! Total height 25 cm. Cf. for example the portrait of Lucius Verus in the Louvre (MR 550/Ma 1170).Cf. K. de Kersauson, Catalogue des portraits romains, II, Paris 1996, no. 122, p. 272. Condition: II +
Lot 80
Büste einer jungen Dame nach der Antike, Italien, 18. Jhdt. In verschiedenfarbigem Marmor gearbeitet. Auf einem getreppten und profilierten Sockel in schwarzem Marmor die elegante Büste einer vornehmen jungen Nubierin mit prächtigem Haar in klassischem antikisierenden Gewand. Gesamthöhe 56 cm. Altersschäden, v.a. am Sockel. Marmor teilweise bestoßen. Hinterhalb gehohlt. Zustand: II - IIIAn Italian bust of a young lady after antique model, 18th century Worked in different-coloured marble. On a stepped and profiled pedestal in black marble the elegant bust of a distinguished young Nubian woman with magnificent hair in a classic antique robe. Total height 56 cm. Damage due to age, especially on the plinth. Marble partly bumped. Hollowed behind. Condition: II - III
Lot 713
An antique 19th Century Chinese Oriental hardwood planter / jardiniere plant / bust stand of oval form having an inset red marble top with decorative mother of pearl inlaid decoration. Pierced carved fretwork below with further floral mother of pearl inlay with all being raised on carved paw feet. Measures approx; 52cm x 45cm x 36cm.
Lot 375
Attributed to George Richmond (British, 1809-1896)Portrait of a young officer, bust length, wearing Hussar's uniformpastel61 x 47cmProvenanceFrost & ReedPrivate collection, UKCondition reportMinor scuffing to sheet, off the top, right and left borders, one small abrasion, upper right' slight discolouration. Framed and under glass; unexamined out of frame.
Lot 561
A bronze bust of a young boyPossibly by Oliver MesselUnsigned22cm highCondition report: Overall in good condition. Some minor rubbing to the patina as to be expected with age. There are two mounting apertures to the underside for the head to be secured to a plinth base. There are two incised lines to the back of the head, a horizontal I and L, as part of the cast. See additional photographs.
Lot 647
A portrait miniature of a lady (2)English School, late 19th centuryDepicted bust length, wearing a black dress and choker, watercolour on ivory, mounted in a leather case, together with another of the same, both unsigned (2)The first, 8cm wide: 9.5cm highCondition report:The first displayed in a leather case with folding velvet lined sides. The portrait is not covered by glass. Some slight warping to the ivory ground, mostly a slight lift to the right side. Some variation in surface finish, from a matt surface to a light sheen. A slight mark to the background over the left shoulder of the sitter. Edges of the gilt card mount worn and frayed. Wear to velvet lining in areas, consistent with age and use. Marks and scuffs to the leather case, dirt and wear. An easel support the reverse. The second is the same sitter. The black paint is flaking extensively towards the bottom of the portrait and over her choker. The very thin sheet ivory surface is glued on to card, the reverse of which has the remains of a printed applied label ‘Portrait Painters Tuck’. Later frame - dirt, dust and minor tarnishing commensurate with age and use.
Lot 663
A Queen Victoria Commemorative Terracotta Wall PlaqueBy Stanley Brothers, 1897The central medallion with a portrait bust of Queen Victoria, to commemorate 60 years as Queen60cm squareFootnote:In 1887 and 1897, Stanley Brothers designed a special plaque to commemorate the milestone years on the throne for Queen Victoria. Houses built using Stanley Brothers bricks had the chance to have one of these terracotta commemorative plaques.
Lot 126
10th-11th century AD. A two-sided glass medallion comprising; Side A: bust of St George with dark hair and turquoise nimbus, holding a cross to his chest, text in the field 'O ?????[..]C'; Side B: bust of a bearded saint holding a book, text in the field 'O NH[.]??[.]'; mounted on a custom-made display stand.Cf. Splendori di Bisanzio, Milano, 1990, fig.58.27.2 grams total, 70mm including stand (2 3/4"). Property of a private New York collection; formerly in the T.S. collection; acquired by inheritance in 1963; inventory number STA\SAT\P5; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10642-174364.This tondo is an imago clipeata that, together with four other images, usually decorated the front and back of a big pectoral cross. Pectoral crosses in gold, gilded bronze and enamel, were worn around the neck as phylacteria (protective elements"). They were usually decorated with five imagines clipeatae representing Saints around Christ or the Virgin and Child. A video of this lot is available to view at TimeLine Auctions website. Fine condition.
Lot 292
Later 3rd century AD. An articulated folding tripod stand with extendable iron trellis legs, forming the support structure for a military camp table or cauldron; the upper end of each leg ornamented with a bronze female bust (Mater Castrorum or Medusa) facing outwards with long hair collected in a high propoloma, divided on the forehead and forming two lateral horns on a rectangular-section hollow mount, L-shaped bracket to the rear to support the table-top; the legs of the tripod, decorated on the external side with inlaid gilt foliage and spirals, terminating in feline paws; at the lower end of each leg, a rectangular-section collar, the bronze foot formed as a lion's head with socket above and claw beneath; the scissor-joint of each leg covered with a domed discoid bronze plate with concentric ring detail; a small hook to the sliding mechanism on one leg; offered with a glass top allowing for use as an occasional table.See Mattusch, C.C., Enduring Bronze: Ancient Art, Modern Views, Los Angeles, 2014, pp.72-73, fig.52a-b, inv. no.96.AC.203, for a similar tripod decorated with horses in the Paul Getty Museum; Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, fig.355, for a 6th-7th century AD Roman example.4.5 kg, 93cm (36 1/2"). From an important East Anglian arms and armour collection; acquired from a Dutch private collection in the 1990s; previously in a Swiss family collection since before 1980; accompanied by an archaeological report by military specialist Dr. Raffaele D’Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10679-175129.Folding tripod stands are well known in the ancient world, in both Greek and Roman contexts. These folding supports for tables, bracers and cauldrons are known finds from important excavations in the Roman world, like Pompeii. The purpose of such folding stands varied; during a meal they were placed between the triclinary beds with bowls and application plates hung to the hooks at the back of the holders, here shaped as heads of a Mater Castrorum, pointing to a campaign use. A tripod with an intact bronze basin is on display at the Firenze Archaeological Museum. Some were used as supports for campaign tables during military activities, with a circular board inserted onto the pegs to lock the legs into place. Depending on their size, the width of the table frame could be changed. Roman folding tripods could also have been used in religious rituals and sacrifices. Burnt offerings and libations were offered to the gods in cauldrons that would have been attached to the hooks behind the heads on the upper section. They were also used for fire lights during military camps, or in the temples of the gods. Others were used as support frames for bronze bowls, either for washing or for ritual purposes; others formed the base for travelling altars, again often used by the military whilst on campaign. Their use continued in the Roman world at least until the 7th century AD. Fine condition, some restoration. Excessively rare.
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