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Lot 90
Walter Winterbottom signed Soccer Coaching (an official publication of the football association) hardback book. Signed on inside title page. (31 March 1913 - 16 February 2002) was the first manager of the England football team (1946-1962) and FA Director of Coaching. He resigned from the FA in 1962 to become General Secretary of the Central Council of Physical Recreation (CCPR) and was appointed as the first Director of the Sports Council in 1965. He was knighted for his services to sport in 1978 when he retired. The Football Association marked the 100th anniversary of Winterbottom's birth by commissioning a bust which was unveiled by Roy Hodgson at St Georges Park on 23 April 2013 in recognition of his outstanding contribution to the development of English football. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95
Lot 204
A collection of five various volumes of British and World stamps together with a collection of British and World coinage and tokens including cartwheel pennies, World War I medal, William IV medallion inscribed "William IV" with bust and verso London Bridge inscribed "London Bridge Commenced 15th June 1825 Opened 1st August 1831" and a Victorian walnut writing slope containing an envelope of vintage birthday cards and an envelope of vintage ephemera to include theatre programmes, race programmes, etc
Lot 27
Roman (2nd century AD) A gold ring with band formed of plaited wires framing a plain centre; the oval bezel with twisted rope pattern border set with a jasper intaglio engraved with the bust of Lucius Verus, bands of curly hair and beard, cloak to the shoulder. Ring size R and a half. Total weight 4.6 grams.
Lot 28
Roman (2nd century AD) Gold ring with ribbed band, granule decoration to the shoulder; oval bezel with granule decoration to the edge; a carnelian intaglio engraved with the bust of Vibia Sabina, wife of the Emperor Hadrian, with elaborate hairstyle and chlamys over shoulders. Ring size R and a half. Total weight 4.4 grams.
Lot 673
An early 19th Century oval portrait miniature on ivory of Admiral of the Fleet Sir William Bowles K.C.B. (1780-1869), bust length in uniform, in a gold plated pendant mount with inset plaited lock of hair and monogram verso within a blue enamel border, 7cm by 5.5cmNote: Sir William Bowles was a senior Royal Navy Officer and a Conservative Party politician
Lot 388
Including Quads for "The Hostage", "The Trollenberg Terror", "Torture Garden", "The Raven", "Thief of Baghdad" and "The Young Ones", plus three different Double-Crowns for "Monte Carlo Or Bust" and a UK 1-Sheet for "The Man Upstairs".Artist: Various ArtistsDimensions: Various sizes.Condition: Various conditions and all folded.VAT Status: M
Lot 29
AN ANTIQUE CARVED CAMEO BROOCH set with a carved oval cameo depicting the bust of a lady in profile, within a bright cut, foliate engraved mount, 4.2cm.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
Lot 13
A north Italian, probably Florentine sculpted terracotta bust of Christ the Redeemer, in the manner of Andrea del Verrocchio (1435 ~ 1488), late 15th / early 16th century, typically portrayed with finely wrought features and naturalistically modelled hair and beard, the head pierced in two places at the top and back for the previous positioning of an aureole, above a larger aperture at the back, 38cm high, 42cm wide PROVENANCE: Private Collection, London CATALOGUE NOTES: The symmetrical facial features, domed forehead, central parting of the hair and forked beard of this idealised bust of Christ, are ultimately derived from Verrocchio's celebrated figure of the Redeemer from his monumental Christ and St. Thomas bronze group on Orsanmichele in Florence, which was begun in 1467. This conception became one of the canonical models for Christ, profoundly influencing generations of Florentine artists long after Verrocchio's death Like the Verrocchio model, the present figure of Christ gazes out with his head tilted to one side. An interesting comparison is made in a terracotta bust of Christ attributed to Pietro Torrigiani (1472 ~ 1528) in the Museo d'Arte Sacra, San Gimignano , which is also inspired by Verrocchio's bronze. Note, in particular, the similar asymmetrical arrangement of the drapery. A further relevant comparison, notably in the turned head and in the modelling of the beard, is found in a Florentine bust of Christ, dating to the second half of the 15th-century, in the Victoria and Albert Museum (inv. no. 6862-1860) The present bust is particularly well modelled and, in its calm serenity, conveys the sense of 'authenticity', which Butterfield suggests made Verrocchio's model of Christ such a successful and enduring image (op. cit.). However, although generally regarded as originating in the Verrocchio workshop, terracotta busts of this type were probably produced by contemporaries outside of the master's studio Examples do appear at auction from time to time. See Sotheby's New York, Selected Renaissance and Mannerist Works of Art Assembled by Fabrizio Moretti, 29th January 2015, lot 130 Also Sotheby's New York, Important Old Master Paintings and Sculpture, 31st January 2013, lot 349 Also Sotheby's London, European Sculpture & Works of Art: Medieval to Modern, 2nd July 2013, lot 36 Also Christie's New York, Continental Furniture, Works of Art, Tapestries & Carpets, 25th/26th September 2001, lot 255 RELATED LITERATURE J. Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria and Albert Museum, vol. I, London, 1964, pp. 209-210, no. 197 A. Butterfield, The Sculptures of Andrea del Verrocchio, New Haven/ London, 1997, pp. 56-80 B. Boucher (ed.), Earth and Fire. Italian Terracotta Sculpture from Donatello to Canova, exh. cat. The Museum of Fine Arts, Houston, and The Victoria and Albert Museum, London, New Haven/ London, 2001, pp. 150-151, no. 22
Lot 29
A patinated bronze bust of the Emperor Vitellius, probably 17th century and later mounted, cast after the Antique, portrayed in corpulence, his head turned slightly to sinister, 37.5cm high; Atop a waisted circular section white marble socle, 18th century CATALOGUE NOTES: More correctly, this bust would be described as being of the Pseudo-Vitellius type, since opinion that identified the bust as that of the Emperor from the Renaissance onwards has now, with further research been largely revised. The original antique head of the Hadrianic era, upon which the probably erroneous identification was based is held in the Museo di Palazzo Grimani, Venice Please note: the measurement in the catalogue is incorrect. The overall height is 49cm. The dimensions of the bronze itself are 35.5cm high, 28cm wide.
Lot 37
Possibly from the workshop of Louis-François Roubiliac (1702 ~ 1762), a patinated bronze bust of a child, second half 18th century, the smiling face turned to sinister beneath a full head of tousled hair; atop a circular section waisted socle, 31.5cm high CATALOGUE NOTES: Roubiliac was born in Lyon, later apparently moving to Dresden to train in the studio of Balthasar Permoser, himself a product of Bernini's workshop. Permoser was working for the Protestant Elector of Saxony, and later in Paris in the studio of his fellow-townsman Nicolas Coustou. Disappointed in receiving second place in the competition for the Prix de Rome in 1730, he received his medal but not the chance to study in Rome moving instead to London A 1938 article published by Bellamy Gardner first suggested that the Chelsea Factory porcelain bust of the Laughing Child, now in the Ashmolean Museum was modelled by Roubiliac, and scholars have questioned whether the attribution is tenable ever since. While Esdaile accepted it, both Penny and Baker refrained from linking it to him securely - but kept him as a prominent candidate based on circumstantial evidence. Whoever the author - and even Flaxman's name has been raised - the head is clearly based on 17th century Baroque prototypes and in particular Bernini (whom Roubiliac greatly admired) and Duquesnoy. In 2012 another, previously unrecorded Chelsea porcelain bust appeared at auction, being acquired by Bath's Holburne Museum Unusual for its small scale in the context of English 18th century bronze work, the model is sometimes found paired with the bust of a crying child. If intended as pendants, together they may reveal their original identification as the young Heraclitus and Democritus, the cheerful (i.e. laughing) and gloomy (i.e. crying) Greek philosphers A marble version of the Laughing Child by Joseph Nollekens is held at the State Hermitage Museum in St Petersburg Cf. Sotheby's London, European Sculpture & Works of Art, 8th December 2006, lot 132
Lot 43
A Continental sculpted white marble bust of a youthful Apollo, late 18th / early 19th century, portrayed with head turned to sinister, a small topknot above his forehead and with thick, leonine hair falling to the nape of his neck, atop a waisted circular section socle, 52.5cm high, 38cm wide CATALOGUE NOTES: The identity of the portrayal is clear from the presence of the topknot, which in complimenting the very boyish facial features below, is a mere suggestion of what it will go on to become in depictions like the famed Apollo Belvedere. Interesting comparisons can be made with the very similarly treated head of the Chigi Apollo, a Roman version, probably of a Greek Praxitelean original held at the Museo Nazionale, Palazzo Massimo alle Terme in Rome
Lot 73
A northern Italian, probably Florentine sculpted alabaster bust of a maiden, late 19th century, portrayed with head inclined slightly to sinister and wearing a shawl over her plaited hair, her drapery tied with a bow at her breast; atop a shaped white marble socle, 31cm high, 27cm wide PROVENANCE: Private Collection, London
Lot 74
Ames Van Wart, (North American 1841 ~ 1927), a sculpted terracotta bust of a young lady, said to be Princess Louise, Duchess of Argyll, signed and dated London 1877, 35cm high Louise Caroline Alberta (1848 ~ 1939) was the sixth child and fourth daughter of Queen Victoria and Prince Albert The sculptor, Van Wart married Carrie Roberts, the daughter of Marshall Owen Roberts (1814 ~ 1880), an American transportation entrepreneur and art collector. He served on the Metropolitan Museum’s Board of Trustees in 1870 and 1871 and was a staunch supporter of American artists, including his son-in-law, whose work is represented in the collection of the Metropolitan Museum
Lot 75
Eugenio Battiglia, (Florentine, fl. late 19th century), a sculpted alabaster bust of a maiden, her serene visage looking straight ahead, her hair held up in a bow tied shawl, the patterned collar and drapery adorned with flowers; inscribed E.Battiglia Firenze to the reverse, 52cm high, 36cm wide
Lot 337
Cricket Sir Richard Hadlee 6x4 signed b/w post card. Sir Richard John Hadlee MBE (born 3 July 1951) is a New Zealand former cricketer, regarded as one of the greatest fast bowlers and all-rounders in cricketing history. Hadlee was appointed MBE in 1980 and knighted in 1990 for services to cricket. He is a former chairman of the New Zealand board of selectors. In December 2002, he was chosen by Wisden as the second greatest Test bowler of all time. In March 2009, Hadlee was commemorated as one of the Twelve Local Heroes, and a bronze bust of him was unveiled outside the Christchurch Arts Centre. On 3 April 2009, Sir Richard Hadlee was inducted into the ICC Cricket Hall of Fame. Sir Richard is the most prominent member of the Hadlee cricket playing family. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.99, Overseas from £7.95
Lot 493
with tapering barrel formed in four stages, engraved with panels of foliage and reeded over the second and third sections respectively, inlaid with a brass line at the breech, engraved tang, bevelled lock signed 'PAP' (Neue Støckel 4226) on the inside and engraved with scrolling foliage and a grotesque on the outside, figured walnut full stock moulded over the fore-end (the forward portion replaced), and about the tang, engraved iron mounts (areas of pitting) comprising trigger-guard decorated with a warrior profile on the bow and with foliate terminal, openwork side-plate decorated with foliage (cracked), spurred pommel decorated with foliage and fitted with a brass profile bust cap, crowned openwork escutcheon, and a pair of moulded ramrod-pipes, and iron-tipped wooden ramrod, perhaps the original
Lot 108
Matteo de’ Pasti (fl. 1441-68), Isotta degli Atti (mistress and later wife of Sigismondo Malatesta), bronze medal, bust right, hair held with crossed bands and falling down in two masses behind, rev., the Malatesta elephant standing in a meadow of flowers; dated below, M.CCC.XLVI, 84mm (Hill 187; Armand I, 21, 19; Pollard 33 = Kress 63; Scher, Currency of Fame, 13), pierced, a very fine contemporary cast with dark patina. The date 1446 is thought to refer to the year in which Sigismondo Malatesta made Isotta his mistress, the medal itself most likely dating to around 1453 or shortly thereafter when she was accepted as a member of the Malatesta family. These unsigned medals have been found under foundation stones although the present example shows no signs of having been excavated.
Lot 109
Sperandio of Mantua (c. 1425-1504), Camilla Sforza (widow of Costanzo Sforza), bronze medal, bust three-quarters left wearing widow’s veil, rev., SIC ITVR AD ASTRA, a female figure seated on a seat composed of the foreparts of a unicorn and a hound; signed below, OPVS SPERANDEI, 83.2 mm (Hill 399; Arm. I, 74, 43; Pollard 90 = Kress 130; Bargello 114), pierced and with second attempted piercing, a very fine early cast. Ex Leu 74, Zurich, 19-21 October 1998, lot 725. The inscription on the reverse (“this is the way to the stars”) is from Virgil’s Aeneid, Book IX, 64. Sperandio’s design must have been influenced by the reverse of one of Matteo de’ Pasti’s medals of Sigismondo Malatesta showing Fortitude on a seat formed of foreparts of elephants; here the unicorn and hound represent Chastity and Fidelity.
Lot 114
Bolognese School, Pirro Malvezzi (patrician of Bologna, 1429-1505), bronze medal, 1477, bust left wearing armour emblazoned with lion’s mask in medallion, rev., DO BERARDVS I CCCCLXXVII, Malvizzi in Roman attire seated on monster with lion’s head and body and dragon’s tail, 72.5mm (Hill 1119; Arm. I, 58 and III, 14), pierced, a very fine early cast. The attribution in Hill to a certain Do. Berardus, otherwise unknown, is not at all certain. Hill considered the work influenced by Cristoforo di Geremia, especially his medal of Alfonso of Aragon (Hill 754), noting the similarities inherent in the armour worn by the sitters in each case as well as other aspects. This cast is extremely similar to the example in Paris illustrated by Hill, repeating the doubling of the date on the reverse.
Lot 115
Leone Leoni (c. 1509-90), Andrea Doria (Genoese admiral, 1466-1560), bronze medal, bust right with trident at shoulder, rev., galley moving to right with small boat containing two figures in the sea below, 40.5mm (Attwood 5; Arm. I, 164, 9; Pollard 490 = Kress 431; Bargello 712), edge filed down, a very fine early cast. The medal commemorates the release of Leoni from the Papal galleys to which he had been condemned for the murderous attack on the Pope’s jeweller Pellegrino de Leuti. His release in 1541 came about through the intercession of Andrea Doria, here depicted as Neptune.
Lot 117
Leone Leoni, Charles V (Holy Roman Emperor, 1519-1556), bronze medal (1549), laureate bust right, rev., Jupiter repelling the Giants who attempt to climb Mount Olympus, 73mm (Attwood 24; Arm. I, 162, 1; Pollard 492 = Kress 426; Bernhart 163.2), old cast, about extremely fine with brown patina. The cast is extremely close to the example in the Lanna collection (1911), no. 626.
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110041 item(s)/page