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Lot 516
DENIERE, A. PARIS. A LATE 19TH CENTURY FRENCH ORMOLU FIGURAL MANTEL CLOCK the case having a blued spherical dial with applied gilt Roman numeral surmounted by Cupid above seated putti holding a painted porcelain panel beside a Roman bust, the eight-day spring driven movement striking the hours/half hours on a bell with anchor escapement and brass bob pendulum 35.5cm high
Lot 542
LLADRO; two figures of ladies with parasols (one af), the taller height 39cm, and a large salt glazed bust of a young girl, also a Radnor 'Yvette' figure (4).Additional InformationThe taller with broken leather leash and loss to the crinoline parasol edge, the other with larger loss to the parasol, 3cm, and missing handle, the bust with surface dirt and minor wear with mild scratches, and blemish, possibly ground down, the Radnor figure with losses to the floral encrusted decoration.
Lot 1
Ancient Egypt, Third Intermediate Period, 21st to 22nd Dynasty, ca. 1070 to 712 BCE. A stunning bust of Osiris, the Egyptian god of the underworld, from a composite, hollow-cast bronze figure. The bust shows Osiris with large hands crossed atop the smooth chest and holding his symbolic crook and flail, each with several recessed grooves which at one time held attractive inlays of stone, glass, or precious metals. A multi-stranded broad collar hangs across his chest and presents incised registers of repeating beaded, fretted, and teardrop-form motifs. His stylized placid countenance is defined by almond-shaped eyes with elongated canthi beneath slender brows, a veristic nose and mouth, and large cupped ears, with a fragment of inlaid cornflower-blue glass within the left eye socket, and panels of paste glass as well as traces of gilding along the chin strap and corner of the right eye. Small tabs atop the head allowed for the attachment of a separate crown. Size: 6" W x 7.25" H (15.2 cm x 18.4 cm); 11.7" H (29.7 cm) on included custom stand.For a face of Osiris from a composite statue, preserving similar inlays, please see von Bothmer, et al. "Antiquities from the Collection of Christos G. Bastis." Verlag P. von Zabern, 1987, pp 33-34, no. 9.A stylistically-similar example of a pharaoh as Osiris - with no broad collar, crook and flail, or inlaid glass - hammered for $83,650 at Christie's, New York "The Morven Collection of Ancient Art" auction (sale 1466, June 8, 2004, lot 553): https://www.christies.com/lotfinder/lot/an-egyptian-gilt-bronze-bust-of-a-4287596-details.aspx?from=searchresults&intObjectID=4287596&sid=a61852ac-5eb8-4fa2-9292-b6cc683de83cThis piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full report will accompany purchase. Provenance: private East Coast, USA collection; ex-Christie's, New York Antiquities auction (sale 2605, December 5, 2012, lot 126); ex-Christie's, New York Antiquities auction (sale 2232, December 11, 2009, lot 16); ex-Galerie Heinz Herzer, Munich, Germany, acquired in 1978 Condition: This is a fragment of a larger composite figure. Small fissure on back of left shoulder. Original crown and false beard missing. Losses to verso, lower body, inlays on crook and flail, glass and paste glass inlays, and gilding as shown. Softening to incised broad collar and facial details, with fading to gilded areas, and light encrustations. Nice earthen deposits as well as fabulous green and brown patina throughout. One TL drill hole inside of head. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146163
Lot 43
Roman, Republican Period, ca. late 1st century BCE. A marble head of an elderly man from a relief - similar to Republican portraits of Julius Caesar found on coinage of the state (the Roman Senate made Caesar the first living Roman whose image was portrayed on state coinage in 44 BCE). Note his clean-shaven haggard visage, wrinkles upon his forehead, folded baggy skin on this neck, and a receding hairline with closely cropped hair that is combed forward from the crown of his head and finely delineated with incised wavy locks. The veristic rendering of his visage is a product of keen observation on the part of the sculptor. Note the furrows across his forehead, those deep-set, large, almond-shaped eyes beneath full brows, his pursed thin lips flanked by nasolabial creases, and overall gaunt face with pronounced cheek bones and pointy chin. Further conveying his advanced age are the wrinkles surrounding the Adam's apple on his neck. The epitome of Republican "warts and all" portraiture! Size: 10" H (25.4 cm); 16.25" H (41.3 cm) on included custom stand.This remarkably realistic representation suggests that the portrait may have been created during his lifetime or very soon after death, perhaps taken from a death mask. The sculptors' "warts and all" approach which may seem unflattering to modern eyes, was extremely popular during the late Republic and Early Empire periods. Such realistic portraits were created to preserve records of elite members of society such as senators, generals, and other high-ranking officials.In the Classical world, portraiture served two main functions - all depended upon whether the subject was dead or alive. Images of the deceased were created for ancestral worship and kept in a private or family context. Ancestral busts preserved the individual's contributions and legitimized the family line. Sometimes masks of important ancestors were worn at funeral processions. Images of the living, on the other hand, were placed in public contexts, as a means of commemorating the individual's might, oftentimes honoring a military victory or public benefaction. For example, sculptures of Augustus and successive emperors served to advertise and affirm their power.Cf. a similar sized portrait of an old man from a tomb relief, said to be from Rome, now in the Metropolitan Museum, inventory number 17.230.133.A portrait bust depicting Julius Caesar that is very similar in style and likeness to this example hammered at 160,000 Euro at Gorny & Mosch (June 2014) - https://www.gmcoinart.de/auction/STEINSKULPTUR_Portr%C3%A4t%20des%20Gaius%20Julius%20Caesar.aspx?los=10&lager=00108&ActiveID=106&lang=enThe description translates as follows: "In 44 BC. the Roman Senate voted to make Caesar the first living Roman to be portrayed on the coinage of the state. Immediately, the Roman mint began to churn out money with variations on the new theme, the dictators portrait. Nevertheless the research seems to be still quite diffuse as an official effigy was not published during his lifetime. The portraits that appear on republican coins can be referred for comparison, although they show great individuality of features. But despite all differences they have three important characteristics in common: They show Caesars head in profile right, a haggard face with wrinkled forehead, prominent nose and a long narrow neck with folds of baggy skin. This is exactly what Suetonius relates (Divus Iulius, Cap. 45):while his baldness was a disfigurement which troubled him greatly, since he found that it was often the subject of the gibes of his detractors. Because of it he used to comb forward his scanty locks from the crown of his head . The present marble head reflects the high cheekbones with the sunken cheeks, the aquiline nose, the broad mouth and the individual wrinkled skin of the neck. All of these features are comparably found in authenticated portraits as well (cf. E. Boehringer, Der Caesar von Acireale [1933] Taf. 25-29). Exactly for these reasons the designation of this portrait head as Gaius Iulius Caesar appears to be secured. As it bears all the characteristics of republican portrait art it must have been created during the dictators lifetime or very soon after his death. It originates presumably from a statue. Especially in Asia Minor Caesar gained great popularity by freeing the cities from the Roman tax collectors excessive demands as well as by granting privileges to the leading municipalities. The cities repaid the Clementia Caesaris with the erection of statues and other honours (cf. K. Tuchelt, Frühe Denkmäler Roms in Kleinasien 1: Roma und Romagistrate [1979] Nr. 45-54; statues in Alabanda, Ephesos, Pergamon, Phokaia and Smyrna). In most cases the only reminders of them are the inscriptions on their bases whilst the presevation of a head like this one is a very rare exception." Provenance: private East Coast, USA collection; ex-William Froelich collection, New York, USA, acquired in the 1970s Condition: Losses to back, sides, neck, and high-pointed areas such as the nose and ears as shown. Expected surface wear commensurate with age, though the visage is still quite strong with realistic features and countenance. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #144095
Lot 55
Near East/Holy Land, Palmyra, Roman period, ca. 2nd to 3rd century CE. A high relief funerary bust, hand-carved from limestone, depicting half of the body of a young man with an inscription. Executed in high relief, the youth is dressed in a himation, with the hands emerging out of the garment. As is typical of the Palmyrene style, the youth has an oval face with large eyes and a hairstyle composed of detailed, snail-like curls arranged in row that end above his protruding ears. The irises of his almond-shaped eyes are incised, and the pupils are drilled. In the background is a curtain held in place by circular knobs against a pair of palm fronds. The stela has a four-line Aramaic inscription to the right of the man's head that retains original red cinnabar pigment in its incised lines. Size: 16" W x 22.5" H (40.6 cm x 57.2 cm)Palmyra was a wealthy city that linked the caravan routes from the Parthian Near East with the Roman mediterranean; the people who lived there during this period largely enjoyed prosperity and were able to adopt eastern and western customs, clothing, and artistic styles, creating a distinctive visual culture unique to the city. We know of this culture today from the large funerary monuments that the Palmyrans built - tower-shaped vaults whose interiors were lined with sculpted limestone reliefs depicting the deceased. Many of these, as this example, had Aramaic inscriptions which gave the name and family history of the dead.See a similar relief in "Zenobia: Il sogno di una regina d'oriente", Milan, 2002, fig. 95, page 84.Published in "Ancient Works: Sculpture, Painting, Mosaics, Glass and Jewelry in Antiquity", Fortuna Fine Arts, 2004, fig. 17. Provenance: private East Coast, USA collection; Published in "Ancient Works: Sculpture, Painting, Mosaics, Glass and Jewelry in Antiquity", Fortuna Fine Arts, 2004, fig. 17; ex-Frances Artuner collection, Belgium, acquired in the 1960s Condition: Part of the nose and some of the fingers are lost. Edges are slightly ragged. With small scratches, chips, and nicks on the surface commensurate with age. Overall in very nice condition with light deposits and excellent preservation of detail in many areas. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #140182
Lot 6
Egypt, Late Period, 26th to 30th Dynasties, ca. 672 to 343 BCE. A striking Egyptian polychrome wood bust from an anthropoid sarcophagus of a woman, presenting an intoxicating visage that is at once remarkably human yet theatrical, with a head that is characteristically oversized relative to the body and bold features including very large, dramatically lined open eyes gazing steadfastly ahead framed by elegant brows that lead to a straight nose and gently smiling lips above a rounded chin, with a creamy white complexion, framed by a long tripartite black and blue striped wig. Adorning the chest is an elaborate polychrome collar with lotus flower and Isis iconography as well as beautiful 'beaded' strands, all delineated in cornflower blue, mint green, russet red, and creamy beige hues, the details of which are very well preserved. Size: 18.5" W x 37.25" H (47 cm x 94.6 cm); 39.25" H (99.7 cm) on included custom stand.The beautiful collar features a blue lotus flower with budded tendrils in blue and red over a red ground at the top - and the goddess Isis sitting upon her knees while spreading her wings and donning her characteristic sun disk flanked by hieroglyphic panels is at the lower end. Between these iconographic highlights are many splendiferous rows of special beads of various shapes and vibrant hues.Egyptians cultivated lotuses in the marshy land around the Nile, and it was believed that the flower gave them power and strength, perhaps relating to the use of a stylized lotus as a capital motif at the top of columns. Lotuses were also used as funerary adornments - for example, remains of the flower have been found in the tomb of Ramesses II - and as temple offerings and garlands worn by women during rituals.The goddess Isis' story is central to the resurrection of the god Osiris - who in turn was central to the written and painted symbols of resurrection of the dead that formed such a crucial part of Egyptian cosmology.These painted sections are made of gesso (a mixture of chalk, pigment, and gypsum) over wide linen strips over wood; a surface like this made for a more stable surface for painting. All in all, the painted iconography on this sarcophagus panel makes for a wondrous example of traditional Egyptian funerary art. Ancient Egyptians believed it was of the utmost importance to preserve a body of the deceased, because the soul needed a place to reside after the death. Preservation of the body was done via mummification - a process involving the removal of internal organs that were placed in canopic jars, wrapping body in linen, and then embalming. Death masks and sarcophagus panels like this example were created so that the soul could recognize the body and return to it.Cf. a full anthropoid sarcophagus from Akhmim, now in the British Museum, illustrated in J. H. Taylor, "Egyptian Coffins" (Aylesbury 1989), fig. 51, p. 62. Provenance: private East Coast, USA collection; ex-private German collection, acquired in 1980; ex-Norman Bankman collection, New York, USA, acquired in 1950s; purportedly authenticated by Dr. Manfred Weber of Cologne University Condition: Substantial areas of gesso and polychrome are well preserved. Normal wear with some losses to peripheries and gessoed passages commensurate with age. Verso was comprised of two panels - the separation between them was stabilized at one point. Nice remains of dowels used to secure to coffin. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #145060
Lot 75b
Near East/Holy Land, Byzantine Empire/Eastern Roman Empire, Theodosius II, ca. 402 to 450 CE, struck 430 to 440 CE. Constantinople mint. Gold solidus. Obverse: D N THEODOSIVS P F AVG, pearl-diademed, helmeted and cuirassed three-quarters facing bust, holding spear over shoulder and shield with horseman motif. Reverse: SALVS REIPVBLICAE, two nimbate emperor's seated facing, both wearing consular robes, holding mappa and cruciform scepter; star above, CONOB "B" in exergue. RIC 237 variety. Size: 0.85" W (2.2 cm); 4.3 grams Provenance: private Toluca Lake, California, USA collection Condition: Choice and VF+ All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #144938
Lot 75c
Eastern Roman Imperial/Byzantine Empire, Theodosius II, ca. 402 to 450 CE, struck 430 to 440 CE. Constantinople mint, Officina 3. Gold solidus. Obverse: D N THEODO SIVS P F AVG, Pearl-diademed, helmeted, cuirassed bust three-quarter facing, spear in right hand over shoulder, shield with horseman trampling enemy in left. Reverse: VOT XXX-MVLT XXXX, "G", Constantinopolis enthroned left, globus cruciger in right hand, scepter in left, left foot on prow, shield at right * in right field CONOB in exergue. RIC X, 257. Size: 0.8" W (2 cm); 4.4 grams Provenance: private Toluca Lake, California, USA collection Condition: Choice and VF+ All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #144939
Lot 76b
Near East/Holy Land, Byzantine Empire, Valentinian III, ca. 425 to 455 CE. Struck 426 to 430 CE, Ravenna mint. Gold solidus. Obverse: Draped bust to right. Reverse: Emperor standing facing, holding long cross in right hand and Victory on globe in left; with foot on head of human-headed coiled serpent. Size: 0.8" W (2 cm); 4.4 grams Provenance: private Toluca Lake, California, USA collection Condition: VF+ All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #144949
Lot 292
A MEISSEN OUTSIDE DECORATED PORTRAIT BUST OF PRINCESS MARIE-ZEPHYRINE DE BOURBON SECOND HALF 18TH CENTURY modelled by Johann Joachim Kändler (1706-1775) with white patterned headscarf and applied flower corsages a puce drape across her shoulders 24cm high Princess Marie Zepherine de Bourbon (1750-1755) was the daughter of Louis Dauphin of France (1729-1765) and Maria Josepha of Saxony (1731-1767) and the granddaughter of Augustus III of Saxony under whose aegis the portrait busts of her and her brother Prince Louis Charles de Bourbon (1751-1761) were commissioned in about 1753. See Len & Yvonne Adams ‘Meissen Portrait Figures’ London 1987 p.24. Provenance: Meissen Figures from the Barlow Collection the collection started by Sir Thomas Dalmahoy Barlow GBE (1883-1964) banker and industrialist also known as an art collector and historian; added to by his son Basil Stephen Barlow (1918-1991); thence by family descent.
Lot 346
A GERMAN SILVER-GILT DESK ORNAMENT, PROBABLY HANAU, LATE 19TH CENTURYthe shaped oval base chased with an oval boss of an illustrious Renaissance figure and another of figures in an interior flanked by small cast deer and centred by a foliate chased cylinder applied with a candle sconce and flowerhead cast handle, the detachable finial formed as a helmeted bust, the gallery with military trophies, Renaissance roundels and embellished piercing, on rosette headed paw feet, pseudo marks, the base additionally set with earlier elements comprising a detachable kidney shaped box, its cover with lion handle, and two small cylindrical pots, one an inkwell, the other a pounce pot33.5cm long, 1166gr (37oz)
Lot 550
AN AUSTRO-HUNGARIAN SILVER SNUFF BOX MAKER’S MARK AK PRAGUE CIRCA 1860 oblong the lid set with a porcelain panel painted with a bust of young woman in 18th century dress engine-turned ground with milled and scroll foliage decoration and vacant cartouches gilt interior assay mark rubbed 812 standard 8.7cm long
Lot 565
˜AN IVORY FAN ‘THE HAIRDRESSER’ FRENCH CIRCA 1775 the double paper leaf painted within a canted rectangle with a seated gentleman admiring himself in an easel mirror while the man up a ladder dresses his hair watched by two young women all in a fashionable interior the reserves with vases of flowers the reverse painted with an island scene the ivory sticks pierced carved and stained with a lady and her hairdresser mirroring the figures painted on the leaf flanked by urns in ovals the ivory guards each pierce carved and stained with a bust of gentleman in an oval within Neo-classical pendants paste mounted pivot pin with associated tubular card case and cover guard 27cm long
Lot 575
SARCAR GENEVA: GOLD POCKET WATCH COMMEMORATIVE OF THE SHAH OF IRAN CIRCA 1970 with manual wind seventeen jewel movement signed Sarcar the gilt satin dial with the Imperial emblem and signed Sarcar applied baton indexes and baton hands the medallion form case with broad bezel decorated with burnished stars on a frosted ground milled edges Swiss 18 carat gold marks the reverse stamped with opposing profiles of the Shah and Empress flanking the crown above and a bust of the young Crown Prince Reza between them below with its black tassel black slip case and its fitted blue box gilt stamped with the Imperial emblem 3.1cm diameter A number of variants of these medallion form watches all with the same bezel but differing backs appear to have been produced as gifts from the Shah. For examples signed to dial and movement ‘Vacheron & Constantin’ see Sotheby’s Geneva 10 November 2015 lot 153 Sotheby’s New York 24 May 2018 lot 253 and Phillips Geneva 12 November 2016 lot 83. Also see two Sarcar examples sold in these rooms 6/7 June 2018 lot 708
Lot 76
Miniature German market stall with toys, the wooden covered stall with door to one side and built in shelves to rear, stall with hat stand and black bonnet, toy horse, candelabra, bust, wooden toy village, flowers, lace, books, bisque cherub, pictures, bell and more, with gentle man carved wooden doll in tradition costume, 13” (33cm) tall, 15”(38cm) wide, 12” (30cm) deep.
Lot 1011
METAL - LPs/12" - (LARGELY) LIMITED EDITION/PICTURE DISC RELEASES. Hard hitting collection of 10 x (mainly) limited edition pressings (picture discs, coloured vinyl). Artists/titles are Motorhead - Rock 'N' Roll (Earmark limited edition picture disc 41030 P - seemingly unplayed), Iron Maiden - The Trooper (00946-337874-1-4 limited edition picture disc), Rammstein - Pussy/Mein Teil (RSD 2014 release, still sealed), Cannibal Corpse - Torture and The Wretched Spawn (limited edition picture discs), Bathory - Blood Fire (pic disc), AC/DC - Rock Or Bust (lenticular sleeve, still sealed), Girlschool - Play Dirty (fully signed sleeve), Guns N' Roses - You Could Be Mine (GFSTP 6) and Triumph - Rock 'N Roll Machine. Condition is typically Ex to Ex+.
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