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Lot 18
Two designer dresses, to include a Victor Edelstein red chiffon evening gown, ruched detailing to bust and shoulders with gathered rose fastening to right of the waist, asymmetric draped hem, complete with matching shawl. approx. size 10 - 12, together with a Catherine Walker red cocktail dress, off-shoulder sleeves, drop waist with fringe decoration to bust and skirt, label stating '100% silk' and 'lining 100% silk' size 12 (2).
Lot 37
An Etruscan terracotta votive bust of a young boy Circa 3rd-2nd Century B.C. Hollow moulded, with finely-modelled locks of hair brushed over his forehead, his rounded face with plump, youthful features, lidded almond-shaped eyes and lips slightly parted, wearing a himation drawn over the back of his head, 30.5cm highFootnotes:Provenance:with Galerie Fortuna, Zurich. Private collection, Berlin, acquired from the above circa 1985.See M. Söderlind, Late Etruscan Votive Heads from Tessennano, Rome, 2002, p. 189, no. 122, for another votive head of a child also with a youthful countenance, dotted nostrils and hair arranged in two strands in front of the right ear.For further information on this lot please visit Bonhams.com
Lot 40
A Roman marble bust of Isis Circa 1st Century B.C.-1st Century A.D.Depicted with her head turned slightly to the left, with deep Venus lines indicated on her fleshy neck, her oval face with heavy-lidded almond-shaped eyes and rounded chin, her wavy hair centrally-parted and surmounted by a crescentic diadem, bound in a chignon at the nape of her neck, with stylized 'Libyan' corkscrew curls falling onto her shoulders and down her back, wearing a chiton with a mantle tied in an 'Isis knot' between her breasts, remains of a headdress at the crown of her head, 24.5cm highFootnotes:Provenance:Anonymous sale; Sotheby's, London, 2 July 1996, lot 117.Mr A. collection, Paris, acquired prior to 1999.Published:C.-G. Schwentzel, Images d'Alexandre et des Ptolémées, Paris, 1999, p. 155-6, no. 55.ibid., 'Cinq nouvelles têtes d'Isis ou de reines lagides', Cripel, vol. 20, Lille, 1999, p. 169, no. 4, pl. 11 A.For further information on this lot please visit Bonhams.com
Lot 41
A Greek marble head of a Ptolemaic Princess or Isis Hellenistic Period, circa 3rd-2nd Century B.C.Depicted gazing to her right, her centrally-parted hair bound in a fillet and falling in 'Libyan' corkscrew curls onto her neck, the face softly-modelled, 6cm highFootnotes:Provenance:Estate of Henri de France (1908-1999), Comte de Paris. Anonymous sale; Christie's, Paris, 14 October 2008, lot 189.Anonymous sale; Sotheby's, New York, 7 July 2009, lot 144.Mr A. collection, Paris, acquired from the above sale.Cf. a small marble bust of Berenike II, Cairo Museum acc. no. JE 39517, in S. Walker and P. Higgs (eds), Cleopatra of Egypt, from History to Myth, London, 2001, p. 49, no. 11.For further information on this lot please visit Bonhams.com
Lot 59
A Roman bronze fragmentary bust of a young man Circa early 1st Century A.D.Comprising a head and upper torso, his face with delicate features and large, heavy-lidded, unarticulated eyes, with thick hair falling in comma-shaped locks over his forehead, wearing a chlamys pinned on the left shoulder with a circular fibula and revealing his bare chest, his right arm raised in the commanding gesture of adlocutio, torso 19cm high, head 23cm highFootnotes:Provenance: John (1900-1976) and Gertrude Hunt (1903-1997) collection, Dublin. Private collection, England, acquired from the above between 1976-1981. Anonymous sale; Bonhams, London, 26 April 2007, lot 118. Private collection, UK, acquired at the above sale.This bust displays similarities with early Imperial bronzes, such as the portrait of Caligula in The Museum of Fine Arts, Houston (acc. no. 2003.670). The Houston Caligula also has a lean face, rounded chin, cap of layered hair and locks brushed in front of the ears, and therefore suggests that this bust may also be a portrait of a Julio-Claudian prince. Furthermore, the gesture of adlocutio was usually performed by the emperor in a civic or military context, most famously in the Prima Porta statue. For similar, see a bronze head of a male youth dating to the early 1st Century A.D. at the NY Carlsberg Glyptotek (acc. no. I.N.2758).For further information on this lot please visit Bonhams.com
Lot 8
A Meissen Böttger stoneware head of the Emperor Vitellius, circa 1710-13Modelled by Paul Heermann (1673-1732), turned slightly to the left, the surface lightly polished, 10.7cm highFootnotes:Provenance:The Saxon Royal Collections bearing the 19th century Johanneum inventory number 244;With Heinz Reichert, Munich;Acquired from the above by the present ownerTwo similar busts are in the historic Schloss Friedenstein Collection, Gotha (M. Eberle, Das Rote Gold (n.d.), nos. 9 and 10; and two from the Spitzner Collection are now in the Porzellansammlung im Zwinger, Dresden (inv. nos. PE 2378 and PE 2379). Another example is in the Meißener Porzellan-Sammlung Stiftung Ernst Schneider, Lustheim (Munich). The bust is likely related to the twelve Böttger stoneware busts of emperors mentioned in the Meissen factory inventory of 1711: 'Ein Kayser-Kopff' (No 43) and eleven further 'Kayser-Koepffe' (nos. 71-81), published by Claus Boltz, Formen des Boettgersteinzeug im Jahre 1711, in Mitteilungsblatt der Keramikfreunde der Schweiz 96 (1982). No stoneware busts of other emperors have survived and so it is likely that these entries refers to this single model. The bust of the Emperor in Böttger stoneware is based on the Roman marble bust, the so-called 'Grimani Vitellius' or Pseudo-Vitellius, which is now in the Museo Archeologico in Venice. The Pseudo-Vitellius was one of the busts most frequently copied and borrowed by Renaissance artists at a time when it was believed to be a portrait of the Emperor Vitellius. It was discovered in 1505 during excavations sponsored by the Venetian cardinal Domenico Grimani (1461–1523) at his residence on the Quirinale in Rome. On the death of Grimani, the Pseudo- Vitellius was bequeathed along with fourteen other works to the Republic of Venice, which placed them on display in the Palazzo Ducale between 1525 and 1593. From the Renaissance period onwards, busts of Roman emperors were used as examples to describe the characters in biblical paintings and sculpture. Classical sculpture features in Pietro Aretino's I quattro libri de la Humanità di Christo (Venice, 1538) in which the author uses classical sculpture (although not Vitellius) to describe the characters in an episode from the Passion in order to help his readers to visualise it. The exemplary nature of these classical images explains why Giovanni Battista della Porta included a bust of Vitellius in De Humanae Physiognomia of 1586 (Book II, chap. I). According to classical Roman sources Vitellius was not a paragon of virtue. Della Porta consequently made him represent individuals with very large heads, a physical characteristic which, according to classical physiognomists such as Polemon of Laodicea and Adamantius, indicated pride, coarse wit, ineptitude and troublesomeness.In his seminal research into the Dresden sculptors and their influence on Bottger stoneware, Siegfried Asche (Keramos 49 (1970) p.67-92) published an invoice that shows that Paul Heermann was working as one of the first sculptors in Bottger stoneware from 9 October 1708. The invoice states that Heermann was paid for 3 Figuren [...] ds sind 2 rothe u.eine so zuallererst von recht fein gutt gemacht [Three figures, two red and one in the very fine clay]. This invoice is significant because it proves that - unlike other sculptors who would have delivered their bozetti in wood or wax - Heermaann had the opportunity to work with the Böttger stoneware directly. It also could indicate, argued Asche, that the third figure 'von recht feinem Gut', could have been a figure in another porcelain mass, perhaps even the first white porcelain.Paul Heermann was born in Weigmansdorf, between Dresden and Prague, and studied with his uncle, the Dresden sculptor, George Heermann. He worked in Prague and Rome before returning to Prague and finally Dresden, where he lived until his death. In Rome, Heermann fully embraced classical sculpture, which is reflected in his marble copies of Herakles, Telephos and Dionysos and Sylenus that he created for the baroque parkland of the Grosser Garten (Great Garden) established in 1676 in Dresden. He was heavily influenced by the work of Bernini, whose sculptures he would have seen and studied in person in Rome. Moreover, Heermann was also appointed as a repairer of antique sculpture in the collection of Augustus the Strong, cementing his reputation for a deep understanding of classical iconography. Heermann's intimate exposure in Rome and Dresden to the great Classical sculpture explains why, argues Asche, one finds so many thematic classical busts among the first pieces of sculpted Böttger stoneware, all attributable to Heermann. Another bust attributed to Heermann, that of Apollo, was sold in these rooms as Part II of this collection, 4 December 2019, lot 38.For further information on this lot please visit Bonhams.com
Lot 86
A Meissen silver-gilt-mounted jug and cover, circa 1745Modelled by J.G. Ehder, of baluster form finely moulded with a continuous scene depicting Venus attended by putti seated on a shell pulled by swans and flanked by a hippocampus, dolphins, a sea nymph, shells, coral and rocailles amidst waves, all above the shell-moulded lower section and flared foot, the scroll handle with a female bust, the shell-moulded cover with a rocaille finial, the silver mount with a scroll thumbpiece and shell at the front, 24cm high, crossed swords mark in underglaze-blue (crack to base of handle)Footnotes:Provenance:Baron von Born Collection, Budapest, sold at Lepke's Berlin, 4 December 1929, lot 87;Siegfried and Lola Kramarsky Collection, New York, sold at Christies New York, 20 October 1993, lot 30J.G. Ehder's work records for March 1745 include: '1 Gieß-Kanne zum Graf Brühlischen Servis mit Zierarthen nebst Henkel und Schnautze von Thon neu bossiret' [1 pouring jug for Count Brühl's service with decorations and handle and spout, newly modelled in clay] - possibly referring to the present lot - along with a basin.For further information on this lot please visit Bonhams.com
Lot 319
PLANCK MAX: (1858-1947) German Physicist. Awarded with the Nobel Prize in Physics in 1918 for his discovery of energy quanta. Planck revolutionized human understanding of atomic processes with his Quantum Theory. An excellent D.S., `Planck´, one page, 16.5 x 21.5, Berlin, 16th October 1913, to Wilhelm Beckmann, in Latin. The partially printed document being a diploma issued by the Friedrich Wilhelm University, signed by Max Planck in his capacity as Rector of the University and Doctor in philosophy “Rectore Maximiliano Planck”. Bearing at the base a printed seal of the University, showing the profile bust of German King Friedrich Wilhelm. Folded. With two binder holes to the left border, not affecting the text or signature. Accompanied by a D.S., `Sering´, one page, folio, Berlin, 16th October 1913, in Latin, reiterating Beckmann´s achievements. Max Sering (1857-1939) was the Dean of the Philosophy Faculty. VG In 1948, the German scientific institution Kaiser Wilhelm Society, of which Planck was twice president, was renamed the Max Planck Society (MPS).
Lot 484
RODIN AUGUSTE: (1840-1917) French Sculptor. A good vintage signed postcard photograph of Rodin's bust Bellone in the Museum of Luxembourg. Signed ('Rodin') in bold black fountain pen ink with his name alone to a clear area at the centre of the image. Some light scuffing to the image and two slight traces of former mounting to the upper and lower edges, not affecting the signature. One very slight ink blot to one letter of Rodin's signature. About VG
Lot 493
EPSTEIN JACOB: (1880-1959) British Sculptor. A controversial pioneer in modern sculpture. A.L.S., Jacob Epstein, one page, 4to, London, 29th July 1935, on his personal printed stationery. Epstein states in full `Would you come in to-morrow between 4 & 5 o'clock & we could talk over the matter of the bust of yourself. Sincerely yours´. Affixed to the lower corners two small printed biographies of Epstein. To the verso two additional small printed texts have been affixed too, related to Epstein and his wife. Some overall age wear, folded. G
![[HERGÉ]: (1907-1983) Georges Prosper Remi. Belgian Cartoonist. Best known for creating the series of comics "The Adventures o](https://cdn.globalauctionplatform.com/8fcf6b4d-1bab-486c-9853-abe5011f8a24/37cacb85-eef6-4096-a753-abe50128dfd5/468x382.jpg)
Lot 511
[HERGÉ]: (1907-1983) Georges Prosper Remi. Belgian Cartoonist. Best known for creating the series of comics "The Adventures of Tintin". A good colour 8 x 10 photograph, unsigned, the Robert Kayaert image showing Hergé in a half length pose, seated before a table full of gadgets and toys related to the Tintin comics. Signed by Kayaert in bold black ink to the verso. Together with Zhang Chongren (1907-1998) Chinese Sculptor. Best remembered as a friend of Hergé. The two met when Zhang was an art Student in Brussels. Signed postcard photograph by Zhang, the front colour image showing the Chinese sculptor alongside a very large bust of Hergé he is working on. Signed in Chinese characters to the verso. VG Robert Kayaert (1920-2007) Belgian renowned Photographer.
Lot 629
BREKER ARNO: (1900-1991) German Sculptor and Architect. Best known for having been “Hitler´s favourite sculptor”. Two signed 4 x 5.5 postcard photographs, the images depicting Breker´s bust of Franz Liszt, and his Apollo and Daphne work. The second sis signed to the verso. Signed in bold black ink `Arno Breker´, one is inscribed. About EX, 2
Lot 562
A EUROPEAN BRONZE PLAQUETTE OF AN OFFERING TO ZEUS, 7 X 14.5CM, 19TH C OR EARLIER, FRAMED, A MINIATURE BRONZE PORTRAIT BUST OF JOHN MILTON, TWO OTHER BRONZE STATUETTES, A MINIATURE BRONZE MODEL OF A REPTILE AND A BLACK MARBLE PLINTH (5) An interesting group of works of art in good condition; marble plinth chipped
Lot 500
A French rectangular cardboard box containing two miniature glass scent bottles, the box in green with raised gold borders, the curved glass lid reverse decorated in colours with a woman seated in a garden by a toppled bust, wear to edges, 8.5 x 6cm., the powder flask form scent bottles with white spiral decoration with beaded glass borders one inscribed 'HR Mar.25 1818', the other 'MT 1818', very minor loss to beaded borders, 4.5cm.Ê
Lot 619
Buttons - eight 19th Century buttons comprising a porcelain example painted with a dandy and maiden, 3.4cm, another in floral stripes with brass back, 2.6cm, a Georgian silver button initialled 'RW', London 1796 by Abraham Taylor, 3.2cm, a large gilded frame button with a female sulphide style bust below faceted glass panel, 4.2cm, a mother of pearl button in tortoiseshell frame, 3cm, another pair, 2.5cm, and another with stitched back, 3.6cm. (8) From the collection of the late Claire Gilchrist
Lot 631
Buttons - a mixed lot mostly 19th Century comprising a selection of portrait bust decorated buttons some in pairs and sets including two cornelian and a lava example, a set of five pierced and decorated buttons on horn backs, 3cm, and eleven other buttons. (qty) From the collection of the late Claire Gilchrist
Lot 635
Buttons - two oval framed displays comprising a set of ten oval enamel buttons, maroon ground with floral and leaf decoration 2.2cm, the other frame with seven black glass bust portrait examples 3cm, and six metal examples 1cm, each in glazed gilt frame 18cm. (2) From the collection of the late Claire Gilchrist
Lot 664
Buttons - a framed display of a set of five 18th Century large buttons, each with a central sulphide type female bust portrait on a gilded ground under a faceted glass cover within an engraved gilded border, 4.2cm, set in a velvet mount in an ebonised frame with bevelled glass, frame 9 x 32cm. From the collection of the late Claire Gilchrist
Lot 319
A small collection of three Royal Commemorative page markers, comprising: on with the bust of Queen Victoria, by Saunders and Shepherd, Chester 1896, one with Edward VII and Queen Alexandra, with enamel decoration, by Levi and Salaman, Birmingham 1901, and one with Queen Elizabeth II, Birmingham 1952, approx. total weight 1.1oz. (3)
Lot 1006
A black painted plaster library bust of G F Handel, after Wedgwood after Roubiliac/Provenance: Cecil Beaton estate sale, Christie's, 1980, Lot 4 CONDITION REPORT: Some minor chipping around edge of plinth. One big chip to top of his cap/turban, this has been coloured black so is not obvious. A few minor surface flakes/chips.Approximate dimensions:45cm high x 27cm wide (shoulder width)
Lot 985
A 19th Century carved ivory bust of Napoleon in profile, in an ebonised frame, a portrait silhouette on glass inscribed Napoleon 1ier, 10cm x 7cm, an engraving of Napoleon after the wax model in the possession of Harry Grant Esq. and a wax portrait, 6.5cm diameter (4) CONDITION REPORT: Lot contains an element of pre-1947 ivory or other organic material which may be subject to export restrictions
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110054 item(s)/page