Late Period, 26th-30th Dynasty, circa 664-343 B.C. A white limestone figure of the god Ptah with false beard, wearing an enveloping cloak and a broad wesekh-collar, holding the shaft of a was sceptre; serene, oval face with almond-shaped eyes and fleshy lips; remnants of dorsal pillar to reverse; mounted on a custom-made display stand. Cf. The Walters Museum, accession number 54.1017, for a similar figure in bronze created within this time period. 1.39 kg total, 22.3 cm high including stand (8 3/4 in.). Ex private Belgium collection, 1960s. with Vanderkindere Auctions, Brussels, Belgium, 26 February 2013, lot 261. English private collection.Accompanied by a scholarly note by Egyptologist Paul Whelan. Ptah is attested from the beginning of ancient Egypt’s dynastic history and was a creator god, a god of craftsmen, and the patron deity of the Memphite region. The principal temple of the god was located in the city of Memphis. The fragmentary back pillar on this statuette indicates that it was most probably a temple offering, originally inscribed with an invocation to Ptah together with the donor’s name. Such votive figurines with back pillars naming the god and the dedicator occur in various materials, including faience and stone. A video of this lot is available to view on Timeline Auctions Website.]
We found 7199 price guide item(s) matching your search
There are 7199 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
7199 item(s)/page
18th century A.D. A dynamic horse and mounted St George figure in wood; the helmetted rider with billowing cloak; gesso and polychrome; approximately half life-size; mounted on an elaborate custom-made display stand; repaired. 76 kg, 1.77 m high including stand (69 5/8 in.). English private collection. Likely derived from a religious scene. The timber shows some old insect flight holes and we are advised that this piece has been recently treated with Permethrin, as a precaution. A video of this lot is available to view on Timeline Auctions Website.]
20th century A.D. A bronze figure of a centaur in animated pose with upper body turned, right arm raised, left arm bent and hand holding a cudgel supported on the shoulder; cloak draped over the left shoulder and skin of a boar folded over the left forearm; on a tiered socle base. 10.3 kg, 53 cm high (20 7/8 in.). French collection, 1960s-early 2000s.From an important Paris gallery, France. Modelled on the so-called Capitoline Centaurs, specifically the Young Centaur, which was found as one of a pair of centaurs during the excavation of Hadrian’s Villa in 1736; the Roman Old and Young centaur pair were themselves based on Hellenistic originals.
4th century B.C. A red-figure terracotta bell-krater displaying polychrome figural panels between a laurel wreath and a band of Greek key motifs; side a) two robed male figures holding staffs, wearing a taenia or a band around the head, standing facing a central altar; side b) a woman wearing a chiton and holding a casket and olive sprig in her outstretched hands, advancing right towards a nude man standing right, his head turned towards her, holding a bucket and olive sprig, a cloak draped over his arm, elaborate volute palmettes beneath both handles; restored. Cf. The Metropolitan Museum, New York, accession numbers 1984.323.2 and 16.140, for similar specimens, in Richter, G. M. A. ‘Recent Accessions of Greek Vases’ in Bulletin of the Metropolitan Museum of Art, 11(12), New York, 1916, pp.255–56, figs.6-7; Metropolitan Museum of Art, ‘One Hundred Fifteenth Annual report of the Trustees for the Fiscal Year July 1, 1984 through June 30, 1985’ in Annual Report of the Trustees of the Metropolitan Museum of Art, New York, 1985, no.115, p.38; see also Robinson, E.G.D., Carpenter, T., Lynch, K.M., The Italic People of Ancient Apulia: New Evidence from Pottery for Workshops, Markets, and Customs, Cambridge, 2014, figs.5.2, 6.1. 4 kg, 41 cm wide (16 1/8 in.). Private collection, Neuchâtel, Switzerland.Ex collection H.& P. Payot, Clarens, by descent.Accompanied by an original thermoluminescence analysis report no.QED2237/SG-0201 from QED Laboratoire.Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11580-199029. Wide-mouthed bell kraters like this one were specifically designed for holding large quantities of liquid and to work as mixing bowls, as it was considered barbaric for wine to be drunk neat (a privilege only enjoyed by Dionysus and his entourage who could handle such a level of intoxication). Wine would be mixed with water, usually one part to three, or even more, as described by Homer regarding the wine offered to the giant Polyphemus (Odyssey, IX, 206-211). As such, kraters provided an ideal large surface area for decoration, and as wine was of utmost importance at the symposium, kraters would usually take centre place, and the decoration of such vessels were geared towards such gatherings attempting to provide subject matter for philosophical debate, like the ones described in Athenaeus’ Deipnosophistae. [For this specific lot, 5% import VAT is applicable on the hammer price] A video of this lot is available to view on Timeline Auctions Website.]
A Meissen coffee cup and saucer, c.1745, the cup painted with quatrefoil panels of peasants, including a traveller in a black cloak watched by a girl in a window, reserved on a powdered purple ground, the saucer paintyed with two peasants beneath a tree, the underside with the same powdered ground, blue crossed swords and gilt G marks, 13.2cm. (2)
A Meissen coffee pot and cover, mid 18th century, the baluster form painted to one side with a large woman in a cloak standing before a small man, the reverse with figures beside buildings, within borders of flowers and leaf scrolls, the cover with similar panels, with a moulded wishbone handle, blue crossed swords mark, incised letter to the footrim, 23cm. (2)
A Bow porcelain Commedia dell'arte figure of a drummer, c.1760, probably Mezzetin, modelled seated on a tree-stump, wearing a cloth striped hat, cloak and flowered breeches, the scroll-moulded base applied with flowers and leaves, on three scroll feet, 22 cm highProvenance: The Property of John Kenworthy-Browne FSA.Condition Report: Examined under UV. The figure has been broken in several places and restored, UV light reveals restorative glaze around both arms and across the upper body and base. The end of the instrument held up to the drummer's face has been broken off. A hole and a couple of firing cracks to the base. Some loss of colour to a couple of leaves at the base, and several small losses to the leaves and flower petals of the encrusted flowers around the base. Small nicks and losses of glaze to the cloak
Two Derby porcelain figures of Saint James the Great and Saint Philip, c.1755-60, each probably modelled by Agostino Carlini, Saint James the Great wearing classical robes, the scroll-moulded base with a broken sword and an orb, Saint Philip regarding a crucifix in his right hand, a basket of grapes at his feet, each 25cm high (2)Provenance: The Property of John Kenworthy-Browne FSA.Note: These models of saints are likely to have been sculpted by Agostino Carlini. For further discussion of Carlinis work see J.V.G. Mallet, 'Agostiono Carlini and Dry-Edge Derby', British Ceramic design, 1600-2002, published by the English Ceramic Circle (2002). Carlini has now been identified as the sculptor of many other early Derby figures. Examples of both models are in the Victoria and Albert Museum, museum nos. C.36-1944 (Saint Philip) and 414:137-1885 (Saint James).Condition Report: Saint Phillip has the middle, ring and little fingers of his left hand broken off, some slight restoration to the edge of his garment, and several firing cracks to the front and back of his drapery which have been filled. St James holds a wooden replacement staff, and has several firing cracks under his arms, to the back and also the bottom of his cloak.
A pair of Nymphenburg porcelain allegorical white figures of putti from the Ovidian Gods Series, c.1755-60, modelled by Franz Anton Bustelli, each scantily clad, Saturn striding forward with a displaced billowing cloak, an hour-glass at his feet and his foot on an open history book, Pandora holding a box, on rococo grassy mound bases, 10.2cm high and 9.9cm high (2)Provenance: The Robert G. Vater Collection of European Ceramics.Note: The Ovidian Gods Series was modelled from 1754 and was probably made in two groups. Modern scholars have identified 23 figures in the series, although the 1760 inventory of forms at Nymphenburg records that it consisted of 26 small figures of deities, see Alfred Ziffer, Nymphenburger Porzellan, Sammlung Bäuml, Stuttgart, 1997, p. 23. A similar undecorated figure of Pandora in Gewerbemuseum im Germanischen Nationalmuseum, Nuremberg, is illustrated by Katharina Hantschmann and Alfred Ziffer, Franz Anton Bustelli, Nymphenburger Porzellanfiguren des Rokoko, Bayerischen Nationalmuseum, 2004 2005 Exhibition Catalogue, Munich, 2004, p. 139, no. 40, and p. 422, where other examples of this rare figure are cited; and two figures of Saturn are illustrated p. 146, nos. 42 (decorated) and 43 (undecorated, and where he has a scythe, but not an hour-glass), and pp. 423-424, where other examples are cited.Photographs: © Christie's ImagesCondition Report: Pandora holding a box: In good condition. Saturn with an egg-timer: Both wings chipped off at or near join with back and lacking. Sections of ribbon running across belly and across lower left leg chipped and lacking. Object held between both hands chipped and lacking.
Two Ansbach porcelain figures from the Nations du Levant series, c.1767, the Wallachian Princess wearing a fur-lined flowered yellow robe and a fur-lined hat, the man wearing a gilt-edged yellow cloak over diaper-chequered robes tied with a sash, holding a sceptre, both standing on mound bases, the man 12.6cm high (2)Provenance: The Robert G. Vater Collection of European Ceramics. Note: These figures are from a series which was modelled after Christoph Weigel's engraved illustrations for "Wahreste und neueste Abbildung des Türckischen Hofes, etc.", published in Nuremberg in 1723. The 1723 German publication was a variant of a French publication "Recueil de cent estampes, représentants differentes Nations du Levant" which had been published 9 years earlier, and which had been commissioned by Comte Charles de Ferriol, the French Ambassador to the Turkish court from 1699 to 1710. See Adolf Bayer, Ansbacher Fayence und Porzellan, Ansbach, 1963, p. 160 for an illustration of some of the figures in the series, including the Wallachian Princess, which is also listed on p. 166, no. 240.Photographs: © Christie's ImagesCondition Report: Overall in good condition for age and type. The man: Very minor restoration to fingertips of his left hand. Restoration to his right hand and to short section of object in his right hand. Very minor wear to gilding of his costume.The lady: Some very minor wear to the enamels of the fur around her hat. Some slight wear to gilding on scrolls on base and to the edges of her costume.
A Game of Thrones Graphic Novel, Vol. 1, by George R.R. Martin; Marvel Graphic Novels: The Black Widow; and Cloak & Dagger; Lone Wolf: The Skull of Agarash, Graphic Novel, by Red Fox; together with a large quantity of Warhammer Monthly; The Citadel Journal; Town Cryer; and other magazines of roleplay interest.
Thundercats - Snarf - LJN Toys - Star Wars - Jawa - 1979 - Palitoy. A 1986 'Snarf' Plush Toy from Thundercats, LJN Toys appearing in Fair condition due to his past visit to the barber shop of Third Earth. (His facial fuzz has been trimmed) Approx. 29 CM tall. An 8" Jawa from Star Wars 1979 CPG #39350. Jawa appears in Excellent condition and is missing his cloak (This does not constitute a guarantee).
Virgin with Child. Sculpture in carved, polychromed and gilded wood. Anonymous Hispano-Flemish. End of the fifteenth century.Height: 112 cm.This is an exquisite late Gothic carving, a lovely depiction of the Madonna and Child that was probably executed in a Flemish or Germanic workshop for an altarpiece since it is not carved or polychromed on the back. Furthermore, it has been hollowed out on the back, perhaps to lessen its weight. The Virgin is standing up, rather stiff and with a inscrutable and linear character. She looks straight ahead, instead of at her Son, with whom she does not maintain visual contact, but shows emotional and physical contact as she holds out her right hand for him to caress. With her left hand she holds the cloak as the Child himself sits on it. The Virgin wears a wide tunic, tight at the top and with a semicircular golden neckline, with heavy folds that fall straight, creating deep concavities. It is polychromed in a pink base tone decorated with stylized reddish plant designs and a gold stripe that runs along the edges. Above, and covering her shoulders, back and a large part of her body, is a dark blue cloak edged in a golden stripe decorated with very delicate vegetation and geometric elements. Unlike the tunic, the cloak has bulkier and puffier folds that tend to have the trough shape that was common at the end of the 15th century. The clothes that the Maddonas of those times usually wear, including this one, usually imitate those worn by the noble ladies of the time. The hands have stylized fingers carved with remarkable dexterity. The head takes the shape of a perfect oval, in which the clear forehead stands out. She has half-open almond-shaped eyes, bulging cheeks, swollen cheekbones highlighted by reddish polychrome, a sharp nose with a rounded tip, a marked nasolabial fold, a closed mouth with thin, tight lips, a powerful chin and a slight double chin. She has ample blonde hair, topped by a fleur-de-lis crown, which falls symmetrically on both sides of the face in long, meandering locks. Contrasting with the mother's self-absorption and rigidity is the carefree attitude of the Christ Child, who appears naked, showing a clearly infantile and tender character, in an affectionate and playful attitude, trying to grab his mother with his right hand, the other hand rests on the Madonna's cloak. The Child has an unstable posture since it seems its back is not supported and at the same time the legs are bent. The face shows the same characteristics as the mother's, although the type of hair differs, having spiral curls.Despite what has been said previously, it cannot be ruled out that this exquisite carving could have been created in a Castilian workshop at the end of the 15th century by a master of Nordic origin, as could be indicated by stylistic features such as the oval conception of the head, the arrangement of the hair in large symmetrical wavy and intertwined loops, the sharp nose or the straight mouth with thin lips. There are also certain signs of this in the way of treating the folds of the clothing.We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
The outstanding and rare Great War ‘immediate’ M.C., immediate ‘V.C. action’ D.F.C. and Waziristan 1925 M.I.D. group of seven awarded to Group Captain J. A. G. Haslam, Royal Air Force and Royal Field Artillery - ‘Freddie’ West’s Observer in 8 Squadron for both awards including the D.F.C. action, for which West was awarded the Victoria Cross, and during which epic engagement both airmen were wounded Military Cross, G.V.R., unnamed as issued; Distinguished Flying Cross, G.V.R., unnamed as issued; British War and Victory Medals (Lieut. J. A. G. Haslam. R.A.F.); India General Service 1908-35, 1 clasp, Waziristan 1925, with M.I.D. oak leaves (F/L. J. A. G. Haslam. R.A.F.); Defence and War Medals 1939-45, mounted on card for display, lightly polished, generally very fine (7) £10,000-£15,000 --- M.C. London Gazette 26 July 1918 (jointly listed with his pilot, Lieutenant F. M. F. West): ‘For conspicuous gallantry and devotion to duty. While on patrol, he, with another officer, observed fifteen motor lorries. As these could not be engaged by artillery by zone call, these officers flew 8,000 yards over the enemy lines, at a height of 3,800 feet, in the face of strong opposition from the ground, and dropped four bombs, obtaining direct hits on the lorries and doing considerable damage to their personnel. They then proceeded to attack them with machine-gun fire as they sought cover. A fortnight later they carried out, at a height of 150 feet, a reconnaissance of their corps front, on which an attack was expected. Despite the fact that the clouds were at 200 feet, and there was a thick mist, they obtained most valuable information. During this flight they directed and located the fire of our artillery on a concentration of enemy infantry. Throughout the operations their work in co-operation with our artillery was always of the greatest value, and their enterprise in attacking enemy troops and transport with bombs and machine-gun fire was splendid.’ The original recommendation states: ‘For conspicuous bravery and devotion in carrying out low reconnaissances, and in co-operation with our artillery. While on patrol near Wiencourt L’Equipee on the morning of April 22nd, 1918, they observed fifteen motor lorries on the Guillancourt Road. As these could not be engaged by our artillery by zone call, they flew 8,000 yards over the enemy lines at a height of 3,800 feet, in the face of strong opposition from the ground, and dropped four bombs, obtaining direct hits on the lorries and doing considerable damage to their personnel. They then proceeded to attack them with machine gun fire as they sought cover. On April 5th, 1918, they carried out, at a height of 150 feet, a reconnaissance of their Corps front, on which an attack was thought to be about to be made. Despite the fact that the clouds were at 200 feet, and there was a thick mist, they obtained most valuable information. During this flight they located and directed the fire of our Artillery on a concentration of enemy infantry East of Morlancourt. Their work in co-operation with our artillery has always been of the greatest value, and their enterprise in attacking enemy troops and transport with bombs and machine gun fire, hard to surpass.’ D.F.C. London Gazette 3 December 1918: ‘On 10th August this officer performed a very gallant action. While carrying out a contact patrol he was attacked by seven enemy scouts. Although wounded in the leg at the outset of the engagement, Lt. Haslam, with rare courage and determination, continued to serve his machine gun. One of the enemy aeroplanes was driven down, and the remainder dispersed.’ The original recommendation states: ‘For courage and determination in the face of a vastly superior force of enemy aircraft. On August 10th, 1918, while carrying out a Contact Patrol Reconnaissance for our Tanks, he and his pilot were attacked near Roye by seven enemy scouts. Lieut. Haslam, although wounded in the leg at the outset of the combat, continued to serve his machine gun, with the result that one of the enemy machines went down with its engine damaged, and the remainder were driven off. Throughout the days of the 8th, 9th and 10th of August, 1918, he carried out work of sterling value while on Contact Patrol, and his pluck in maintaining the fight on the 10th, after being wounded, is worthy of high praise.’ Haslam’s pilot, ‘Freddie’ West, was awarded the Victoria Cross for the above action. His award appeared in the London Gazette 8 November 1918, thus: ‘In recognition of his outstanding bravery during aerial combat. Captain West, while engaging hostile troops at a low altitude far over the enemy lines, was attacked by seven enemy aircraft. Early in the engagement one of his legs was partially severed by an explosive bullet, and fell powerless into the controls, rendering the machine for the time unmanageable. Lifting his disabled leg, he regained control of the machine, and, although wounded in the other leg, he, with surpassing bravery and devotion to duty, manoeuvred his machine so skilfully that his observer was enabled to get several good bursts into the enemy machines, which drove them away. Captain West then, with rare courage and determination, desperately wounded as he was, brought his machine over our lines and landed safely. Exhausted by his exertions, he fainted, but on regaining consciousness insisted on writing his report.’ M.I.D. London Gazette 20 November 1925 (Waziristan). James Alexander Gordon ‘Alec’ Haslam was the son of Mr and Mrs J. B. Haslam of 3 Bilton Road, Rugby, and was born in September 1896. He was educated at Rugby, and was awarded an exhibition at Corpus Christi, Cambridge - but in 1915 he opted to enter the Royal Military Academy at Woolwich. Haslam was commissioned Second Lieutenant in the Royal Field Artillery in February 1916, and served with the 125th Brigade, R.F.A. in the French theatre of war. Securing a secondment to the flying service in 1918, he trained as an observer and was posted to 8 Squadron (F.K.8’s) in Spring of that year. Haslam was crewed up with Lieutenant F. M. F. West as his pilot, the latter’s biography Winged Diplomat gives the following: ‘I had one unfailing source of uplift at this time, in the shape of my new observer, Lt. James [sic] Haslam. He was seconded from the Royal Artillery and was invaluable on artillery reconnaissance and range-spotting. He was finally allotted to me personally, and it was a comforting thought, when up above the lines with shrapnel flying around and enemy aircraft in the offing, that he was behind me. Haslam had been a Rugby scholar at Cambridge. Silent and shy, he oozed scholarship although he tried to hide it beneath a cloak of simplicity. He had been doing brilliantly at Cambridge and hoped to return there.’ The pair immediately hit it off in the air, and were to survive many scrapes together as Chaz Bowyer relates in For Valour - the Air VC’s: ‘A particularly dangerous low-level sortie for West and Haslam came on 23 April [sic], when they set out to bomb a concentration of German transport well behind the enemy lines. Reaching their objective, the F.K.8 crew made an accurate bombing run and then strafed the target from near zero height before turning for home. As they reached the front line again their aircraft was hit repeatedly by an intense barrage of ground fire, suffering hits in its engine and having an aileron shot away. By skill and good judgement, West scraped across the Allied front lines and accomplished a safe landing only 100 yards west of the trenches. Th...
The Peninsula War Medal awarded to Lieutenant R. Blake, 3rd Foot, who was severely wounded and lost a leg at St Pierre in December 1813 when in command of the Light Company of the 57th; he later assumed the additional name of Humfrey and left a hand-written journal ‘A brief Chronological History of my Life’, R. Blake-Humfrey, 1872 Military General Service 1793-1814, 2 clasps, Nivelle, Nive (R. Blake Humfrey, Lieut. 3rd Foot) toned, extremely fine £3,000-£4,000 --- Provenance: Charles Lusted (List No. 78) June/July 1970. Robert Blake (afterwards Blake-Humfrey) was born on 23 November 1795, at Horstead, Norfolk, second son of Thomas Blake, Barrister at Law, J.P., and Theodora Colombine. He was gazetted Ensign, by purchase, into the 3rd Foot (Buffs) on 30 April 1812, with the influence of General Leigh, the Colonel. Promoted to Lieutenant on 23 September 1813, he served in the Peninsula from September 1813 to March 1814, being present at Nivelle and Nive, being severely wounded at St Pierre on 13 December 1813, where his left leg was amputated. He was placed on Half-pay in December 1816, having been ‘Rendered incapable of Duty by my wounds, and removed to the 9th Royal Veterans Battalion in January 1820, ‘Incapable of service by the loss of my leg and other severe wounds.’ He was awarded £100 pension per annum for the loss of his leg, commencing from 14 December 1813. Robert Blake married Charlotte, daughter of Colonel Harvey, of Thorpe, at Thorpe St Andrew, Norfolk, on 4 August 1838, with whom he had seven children. He assumed the name Blake-Humfrey by Royal Licence on 10 August 1847. He later became Deputy Lieutenant of Norfolk and Justice of the Peace, and lived at Wroxham Hall, Norfolk, where he died, aged 90, on 15 October 1886. There is a memorial tablet to him in the church of St Mary the Virgin at Wroxham, Norfolk. The following narrative, including extracts from Blake’s hand-written journal “A brief Chronological History of my Life” (R. Blake-Humfrey, 1872), was published in Charles Lusted’s List No. 78 in June/July 1970; Lusted clearly had access to the original journal which was then in possession of the family but made it very clear that the journal was not for sale. The present whereabouts of the journal are not known. ‘Departed for the Peninsula, July 1813 to join the lst Bn in Spain. During some very rough weather between Portsmouth & Plymouth, a mutiny among a large part of both soldiers and sailors broke out aboard ship (on account of some regulations relative to the issue, and drinking, of the grog served out to the men), the men refused to serve the ship, and some soldiers set their officers at defiance, and a party of American seamen, engaged at Liverpool, proposed "to take the ship into Boston!". Lieutenant Blake Humfrey was sent, with a small party, to the escort Frigate of the convoy, through a heavy sea, and an armed crew from the Frigate arrested the chief sailor mutineers. Landed in Spain Aug 28th, 1813, near St. Sebastian (which was then under siege), and the detachment was ordered to march to join the Regiment. They were attacked en route, and several of the men were wounded. “Lord Wellington and his Staff passed by and stopped to enquire who we were? I saw him thus, for the first time, by flashes of lighting, in heavy rain - enveloped in his large cloak, and cocked hat covered with oil-silk - as represented in the pictures.” Aug 30th 1813 - Joined the Ist Bn The Buffs encamped in the mountains near the Pass of St. Jean Pier de Porte, under command Colonel Bunbury (Sir John Byng’s Bde), 2nd Division (Lord Hill). Appointed Lieutenant (London Gazette 28th Sept, 1813), and attached to Light Company (Capt. Cameron). At that time the Light Co’s of every Regt in the Bde were formed into one Company of which Capt. Cameron has sole command. Nov 10th - took part in the attack and capture of the heavily fortified French positions on the Heights of Ainhoue (beyond the River Nivelle); November - crossed the River Nive, and “the Buffs, wading up to their chests, the stream running strong, succeeded in crossing the river, with the loss of a few men by enemy fire, and a young officer and a private or two, carried away by the current, which they were too feeble to stem.” December, 13th - “Cameron directed me to take command of a company of the 57th, attached to the Light Companies, all the officers of which had been wounded. About four o’clock in the afternoon, while doing duty with this Company, and exposed to a severe fire of artillery, I fell to the ground, badly wounded in both legs above the knee, either by grape-shot, or part of a shell.” “Lord Wellington having, early in the morning, received intelligence, from Sir Rowland Hill, of the strong attack made on his, the right wing of the Army, came from St. Jean de Luz some 20 miles, to learn the result. He galloped up close by my party, and seeing me severely wounded, supposed I was an officer of high rank, for he sent his A.D.C. to enquire who I was. Upon being informed, he remarked that my wounds seemed to require immediate attention, and ordered his A.D.C. to send a surgeon to the farm house close by. I had the satisfaction of meeting the Assistant Surgeon of my own Regt coming out to meet me, by Lord W’s orders!” His left leg was amputated (at the age of 18 years). “Sir Rowland Hill and Sir John Byng called upon me, and sent English roast beef, in tin cases, then a novelty.” Lieutenant Blake was then returned to England, and in due course was discharged on medical grounds: “my wounds entitled me to a year’s pay for each leg, and a pension for the loss of my left leg - which was made £100 - that of a Captain, in consideration of my being in command of a company when wounded.” May 1815 - “I went to Bradford in. Yorkshire to have an artificial leg made by Mr. Mann, then of great fame as a mechanician in that way.” July 1815 - “On returning to Bradford, I found a Russian officer, Colonel Christzoffs, who had lost his leg at Leipzig, and hearing of the fame of Mr. Mann, had come from Paris to have a leg made.” August 1815 - “Though so soon after the loss of his leg at Waterloo, the Marquis of Anglesea also arrived, for a like purpose. He invited Colonel Christzoffs, myself, and several other officers, to dinner at his hotel - all at table being one-legged-men, except his son Lord Uxbridge!” The last entry in the Journal reads: “Dec 1882, returned home - by train.”
Oil on copper10 1/8 x 7 7/8 in. (25.7 x 20cm)Unframed.ProvenancePrivate Collection, New York.NoteWe wish to thank Prof. Sandro Bellesi for his kind assistance in cataloguing the present lot.The present painting derives from the famous type of the Mater Dolorosa, which Dolci adopted around 1655 to great success along other Italian artists from the Seicento like Titian, whose version features a Madonna with clasped hands, now in the Prado Museum. Our version features a sad Madonna in profile, wrapped in a long mantle which covers much of her head. It seems to directly compare to the autograph version of Dolci (Mater Dolorosa, circa 1655, oil on canvas) in the National Museum of Western Art Tokyo, with the difference that it adopts a more closely cropped format, with the Virgin’s figure is truncated just below the hands. In the present work, the Virgin appears somehow troubled, her eyes lowered in sorrow and discretely shedding a tear. Yet, her face appears smooth and beautiful, which contributes to the idealization of the holy figure. Her cherry lips and the soft pink of her cloak's lining (other versions highlight a paler blue) contrast with the deep blue of the rest of the composition. The subtly radiant halo behing her head enables the figure to detach herself from the dark background, and stand out before the viewer.The modest size of the oil suggests a work of private devotion, in which Dolci specialized at the time especially when he was at the service of the Medici family. The number of existing copies and variants also confirm its success. The present work particularly demonstrates the artist's talent at depicting, with great naturalism and sensitivity, the Virgin's humanity and modesty.In overall good condition. With minor abrasions at bottom right corner, as well as intermitently along the outer edges of the work. Examination under UV light reveals older restoration around the halo surrounding the figure, in the dark background from the upper left quadrant to the upper right one. Some more pinpoint inpainting along the left outer edge of the painting, to the direct left of the figure. Some more localized areas of restoration at center left, on the inside of the Virgin's veil, as well as at center right, on her blue cloak. Her face appears intact. With remnants of old greenish varnish throughout, which seem to be indicative of a selective cleaning. See Specialist's pictures for more details. Unframed.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
A Charles I General pardon issued to Richard Gardiner of Nortoft in the parish of Guilsborough in Northamptonshire; 10 February 1626 Relates to high and petty treason, rebellions, insurrections and conspiracies before 27 March 1625 [the accession of Charles I], homicides, felonies, robberies and accessories to the same, escapes and all other feloniesWritten in a Chancery hand with ornamental strapwork to the capitals; C of Carolus ornamented with foliage; lacks great sealRichard Gardiner was a beneficiary of the will of his uncle Richard Gardiner of Nortoft in Guilsborough of 9 July 1622, proved at London on 8 October 1623, being left a trunk containing a cloak, a pair of hose and doublet, two pairs of stockings and one shirt, and an unspecified debt owed to the deceased on a bond.
Bought From A Theatrical Seamstress Circa 2000 comprising of a black and fawn art nouveau pattern 1920s style coat in the style of Fong Leng, in a heavy chenille fabric and gold silky textured lining with a quilted velvet collar and two decorative buttonsmedieval tapestry sleeveless coat in the style of Fong Leng, with gold textured ruffle to armholes, pintuck and stitching detail on the backsale catalogue of a collection 'Haute Couture' by Fong Leng, Sotheby Amsterdam 19 March 1979, Language is Dutch(3)Fong Leng (Rotterdam, 13 August 1937) is a Chinese-Dutch fashion designer, and calls her clothing designs 'creations'. Fong Leng started a fashion boutique in 1969 in a Drugstore, Nieuwendijk in Amsterdam. In 1971 she moved to larger premises at the P.C. Hooftstraat and called it Studio Fong Leng. She is mostly known for her extravagant cloak dresses. Fong Leng’s most notable client was Mathilde Willink, the divorced wife of the Dutch magic realist painter Carel Willink. The materials Fong Leng uses for her creations are leather, suede, silk, marabou feathers, and fur. She uses techniques like application, incrustation, quilting, matelassé, smocking and pleating. Most designs have figurative images on them. Fong Leng is most famous by her cloak dresses for women. High society and extravagant women like Mathilde Willink and Kate Bush wore clothes by Fong Leng. In 1975 the Centraal Museum in Utrecht was the first museum to collect Fong Leng’s work. The museum bought it straight out of Fong Leng’s studio, so it had never been worn by anybody. The museum paid 10,000 guilders for the Straalmantel. Up to this day there are numerous museums that have creations made by Studio Fong Leng in their collections. For instance: Amsterdam Museum, Museum Rotterdam, and Kunstmuseum Den Haag. During the years there have been several exhibitions organised solely devoted to Fong Leng's designs. 1920s style coat - 46" bust, all fastenings work very well, no signs of wearTapestry sleeveless coat - 36" bust, some pulls in tapestry and collarCatalogue - tear on back page and marks on cover, internal pages ok
Bought From A Theatrical Seamstress Circa 2000 comprising of a brown velvet chevron quilted 1920s coat in the style of Fong Leng, with tassel details and a large collar with smocking and a peach textured liningred spotted chevron quilted wrap jacket in the style of Fong Leng, with gold lining and corsage, horn shape on left cuffblue velvet quilted jacket in the style of Fong Leng, with large flower shaped cuffs that are wired to hold shape, shawl collar and several embroidered and beaded floral motifs also a large beaded flower design on back with long beaded tassel(3)Fong Leng (Rotterdam, 13 August 1937) is a Chinese-Dutch fashion designer, and calls her clothing designs 'creations'. Fong Leng started a fashion boutique in 1969 in a Drugstore, Nieuwendijk in Amsterdam. In 1971 she moved to larger premises at the P.C. Hooftstraat and called it Studio Fong Leng. She is mostly known for her extravagant cloak dresses. Fong Leng’s most notable client was Mathilde Willink, the divorced wife of the Dutch magic realist painter Carel Willink. The materials Fong Leng uses for her creations are leather, suede, silk, marabou feathers, and fur. She uses techniques like application, incrustation, quilting, matelassé, smocking and pleating. Most designs have figurative images on them. Fong Leng is most famous by her cloak dresses for women. High society and extravagant women like Mathilde Willink and Kate Bush wore clothes by Fong Leng. In 1975 the Centraal Museum in Utrecht was the first museum to collect Fong Leng’s work. The museum bought it straight out of Fong Leng’s studio, so it had never been worn by anybody. The museum paid 10,000 guilders for the Straalmantel. Up to this day there are numerous museums that have creations made by Studio Fong Leng in their collections. For instance: Amsterdam Museum, Museum Rotterdam, and Kunstmuseum Den Haag. During the years there have been several exhibitions organised solely devoted to Fong Leng's designs. Brown velvet coat - 44" bust, no signs of wearRed spotted jacket - 40" bust, no signs of wearBlue velvet jacket - 44" bust, no signs of wear
A mixed lot of vintage 1980s Marvel comic book series, to include: - Cloak and Dagger: Issues 1-4 - Falcon: Issues 1-4 - Gargoyle: Issues 1-4 - Hawkeye: Issues 1-4 - Jack of Heart: Issues 1-4 - Machine Man: Issue 1-2 - Red Sonja: Issues 1-4 - Secret Wars: Issues 1-12 - Secret Wars II: Issues 1-3 - Prince Namor, The Sub-Mariner: Issues 1-4 - West Coast Avengers: Issues 1-4
Spanish school, 17th century."Saint Veronica".In carved wood, gilded and polychrome.Lacks in the wood and the polychromy.Measurements: 70 x 30 x 20 cm.Sculpture worked in a half-bulk, so that the devotional carving was intended for frontal contemplation. The saint represented could be Veronica. Stylistically, it is fully in keeping with the Baroque style, which can be seen above all in the natural, dynamic draping of the cloak which covers the head and falls in gentle curls to either side of the figure. The tunic is also carefully worked, seeking naturalism in the drapery, drawing vertical grooves from the belt to the feet. The quality of the carving is reflected in the variety of qualities given to the garments, which are decorated with brocade. The face, with its harmonious features, is framed by a veil that completely hides the hair.
Italian school; 18th century."Madonna and Child".Oil on canvas. Re-drawn.It presents faults and losses on the pictorial surface.Measurements: 85 x 69 cm.In this work of oval format the author recreates a break of glory in which the figures of the Virgin and the Child stand out, who are in the centre of the scene. It is interesting because the Virgin, dressed in her pinkish tunic, blue cloak and crown of strasses, steps on the serpent that represents sin, features that are typical of the invocation of the Virgin as the Immaculate Conception. However, in that iconography she always appears alone, while in this image, leaning on a cloud and surrounded by his mother's arm, the little Jesus can be seen wearing his purity cloth and blessing with one hand.During the 17th and 18th centuries, ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. Taken as a whole, regardless of their size or medium, these images served the purpose of sacralising everyday life beyond the altars.
Mexican School 17th century."Coronation of the Virgin".Oil on canvas.Size: 104 x 83 cm.The present work shows an idealized natural landscape in the background, with the figures in big size in the foreground, as it was usual after the dispositions of the Council of Trent that directed the change of the Roman Catholicism in the Counter-Reformation. On the left, dressed in the typical unfinished leather in shades of brown and a red cloak, is Saint John the Baptist, placing the crown on the Virgin. In the centre of the painting, following an ascending line, is the dove of the Holy Spirit emanating light, and below, the Virgin, dressed in a red tunic and blue cloak, with her hands clasped in prayer and with an elegant gesture of humility. On the right, God appears, with the ball of the world in his hands, symbol of creation, and holding the crown in his hands like Saint John the Baptist, placing it in the Virgin's hands.Compositionally, and as is usual in the Mexican school of the period, clear influences of the Sevillian school can be seen (composition, gestures, colours, landscape, iconography, etc.), as well as a series of particularities of the school to which the work belongs (especially in the faces of the figures). It is also possible to speak of a slight recollection of models from Murillo, and the strong dependence on 17th-century Baroque models in the present work is clear.
Italian school of the 17th century. Following models by FEDERICO BAROCCI (Urbino, 1528-1612)."Rest at the Flight into Egypt".Oil on copper.It has repainting and slight faults. The frame has damage in the upper central part.Measurements: 38 x 28 cm; 42,5 x 32,5 cm (frame).In this splendid copper painting the biblical episode of the return to Israel after the Flight to Egypt is represented: the Holy Family rests in a forest clearing, sheltered by bushes and holly trees with red fruits. The Christ Child offers Joseph a bouquet of cherries, the fruit of which symbolically alludes to the blood of Christ's passion and the sweetness of Paradise, while Mary remains pensive, withdrawn into her thoughts. The donkey occupies the background, as does Saint Joseph, who stretches out his arm to reach the fruit. In the distance the horizon is tinged with glaucous light. The work follows the same compositional models as the one painted by Federico Barocci for his friend and art collector Simonetto Anastagi of Perugia around 1573, now in the Pinacoteca Vaticana, although there are differences in the treatment of the figures. Various influences can be discerned in the subject matter, particularly those of Correggio, although they are softened by the gentle gestures and harmonious simplicity that characterised the painting of Barocci and, in this case, also of Anastagi. Joseph's expressive, grey-bearded face contrasts with the Marian idealisation of clear Raphaelesque roots. The softness of the Virgin's face, modelled with nuanced lighting, is also applied to the idealisation of the Christ Child, whose volumetric body is sculpted by the skilful use of cold, somewhat attenuated light. The vegetation that embraces them absorbs shades of green, which in turn enhance the sensual work of the woman's tunic and cloak, in their canonical combination of red and blue, with satin reflections. The proportions of the bodies, almost monumental but without losing their graceful tenderness, are typical of Mannerist art.
Attributed to Friedrich Goldscheider (Austrian 1845-1897): An impressive near pair of late 19th century cold painted terracotta figures of an Arab warrior and his female companionthe bearded warrior clad in a buttoned long tunic, draped headdress and fur cloak, holding a detachable wooden and metal rifle, raised on naturalistic canted square base and confirming textured parcel integral plinth, the rear with indistinct signed manufacturers rectangular pad mark and impressed mark 961, the female companion clad in a sash tied fringed robe, necklace and draped headdress, her left hand resting on her hip, on confirming square base and confirming integral plinth, 74cm high, 57cm wide (including rifle), 30cm deep overall approximately (2)Footnotes:In 1885, at forty years of age, Friedrich Goldscheider founded in Vienna 'Goldscheider'sche Porzellan-Manufaktur und Majolica-Fabrik'. The factory produced a wide variety of ceramics, ranging from faience kitchenware to luxurious porcelain objects but it is the production of polychrome terracotta figures in particular that have established its reputation and fame at the turn of the 20th century.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
PETER PARKER, THE SPECTACULAR SPIDER-MAN #1 TO 68 + KING-SIZE ANNUAL #1, 2, 3 (71 in Lot) - (1976/1982 - MARVEL) - Unbroken run of the first 68 issues - Includes the first appearance of White Tiger in a standard comic, the first Frank Miller Daredevil artwork + first appearance and origin of Cloak and Dagger - Flat/Unfolded
A Staffordshire enamelled cylinder pill box, a Japanese miniature vase and cover, (4cm x 4.5cm) a white metal cloak pin twin clip holder, a white metal filigree pendant, a pair of Sheffield Walker & Hall silver sugar tongs, a set of seven Victorian London silver teaspoons, five Epns dessert spoons and forks, miscellaneous odd Epns spoons, forks etc (silver 130g) (a lot)
MARVEL COMICS - SPIDER-MAN (VARIATIONS),non-continuous runs, Web of Spider-Man including #5, 11, 20 (specialty border), 31, 32 and 70 (first app. Spider-Hulk) (approx. 25); Peter Parker: The Spectacular Spider-Man including #60 (origin retold), 64 (first app. and origin of Cloak & Dagger), 91, 94, 116 (first full app. The Foreigner), 131 and 200 (foil cover, death of Green Goblin aka Harry Osborne) (approx. 38); Marvel Tales starring Spider-Man including #101, 137 and 200 (approx. 22); small group of further mixed Spider-Man (7)
A Ludwigsburg porcelain figure emblematic of Winter, c.1765, blue crowed interlaced C mark, incised mark, modelled by Joseph Nees, wearing a turban and fur-lined green cloak, his right hand in a muff, standing on a gilt-edged scroll-moulded mound base, 13cm high Provenance: Works of Art from the Schroder Collection.Note: A similar model is illustrated by Hans Dieter Flach, “Ludwigsburger Porzellan”, Stuttgart, 1997, p. 528, no. 175. There are some losses to the red ribbons of his muff and to the ribbons tying his hair. There is a larger chip to the edge of the mound base at the front, but it is not noticeable at first because it is to a scroll (this chip is approximately 3mm. x 6mm.). There is a minute chip to the hem of his cloak at the back – this is very minor. The rest of the figure is in good condition.
A Northern European polychrome painted figure, late 19th / early 20th century, wearing a crown and cloak and holding a flag in his left hand and a scroll in his right, approx. 29cm highWear throughout to include discolouration and losses to paint. The tip of the flag pole has been reattached and glue is visible. There is a drilled hole to the centre of his back and to the underside of the base. There are chips to the back left lower section of his cloak. Large sections of the base are newer replacements as are possibly the tips of his boots. The lower tip of the flag pole is hanging clear of base as it would have been attached to the old removed section of base.
Ca. 370-360 BC. A very sizeable and attractive red-figure painted skyphos (wine cup), depicting (on side A) a winged nude Eros in profile, riding a horse adorned by a petite dolphin brand on its buttocks, and (on side B) a nude male satyr with characteristically pointy asinine ears, standing with legs crossed at the knees, his torso skewed towards the right, and his profiled head turned towards the left, carrying a cloak over his right arm while leaning against his pedlum (shepherds crook), and extending his left arm outward. Standing beside him is a female maenad nymph, dressed in a flowing chiton and carrying a thyrsus (pine cone-tipped staff) in one hand - all suggesting a Dionysian context. Beneath each handle is an intricately delineated ensemble of stylized palmettes; above the scenes is a narrow register ovalo and below a somewhat wider meander band.Size: L:280mm / W:410mm ; 3.17kgProvenance: Property of a London Ancient Art Gallery; formerly acuired on the US art market; prevously in a NYC collection; Ex. Fortuna Fine Arts, NYC.
Late Dynastic Period, Saite Period. Egyptian, Ca. 664-332 BC. A bronze figure of Osiris standing mummiform with his hands emerging from his cloak, holding the crook and flail, and wearing a broad beaded collar with tassels and the Atef-crown. His face with fully outlined lips and eyes and eyebrows. Osiris was one of the most popular ancient Egyptian gods and was connected with male fertility. He was said to be the first Pharaoh of Egypt and was murdered by his brother Seth for his crown. Osiris was revived by Isis, his wife, and sister, to conceive Horus, the son who would avenge his death. After death, Osiris became ruler of the underworld and God of the dead, which is why he is shown with the crook and flail, the symbols of authority for Egyptian rulers. For a similar see: The Metropolitan Museum of Art, Accession Number: 10.175.133. Art Institute Chicago, Acc no. 1892.130.Size: L:300mm / W:85mm ; 1,92kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
17th Century Tokens, LONDON (City), Barbican, Elizabeth Babington, Farthing, 1653, 0.57g/6h (N 6506; BW. 108); Cloak Lane, I.P.B. at the willow tree, Farthing, 1.13g/6h (N 6785; BW. 671); Cornhill, H[umphrey] H[inton], Farthing, 1.04g/6h (N 6806; BW. 719); Custom House, S.E.T. at the tavern, Farthing, 1.09g/6h (N 6855 rev., different obv.; BW. 826); Great Eastcheap, J[ohn] B[oyce], Farthing, 0.78g/6h (N 7031; BW. 1256); Leadenhall Street, Cornelius Cage, Farthing, 0.50g/6h (N –; BW. 1654) [6]. About fine and better, but last only a fragment £80-£100
A pair of early Derby Patch Mark figures, the Ranelagh Dancers, the gallant attired in a tricorn hat, doublet, hose and cloak, he holds a nosegay, his lady holding a nosegay wears a gown and cloak, with flowers and plumes in her hair, a ribbon-tied medallion suspended from her shoulder, scrolling circular base and picked out in pastel tones of polychrome enamels throughout, 21.5cm high, c.1760For a similar pair see: Bradshaw, Derby Porcelain Figures 1750-1848, 1990, E17, p 97
A late 19thc group after a model by M V Acier, with a swooning lady supported by a gentleman in front of broken planks and a cherub holding flowers. The reverse with a further cherub and with an oval shaped base. Some restorations, 'Crossed Swords Mark to the base, and incised F63 and other numbers' .24cms high. ** Lady, the head has been broken at the neck and restored, hand has been restored, Gent - hand restored, end of cloak chipped and restored, cherub - wing restored, small chips to the flowers on the base.
A Meissen porcelain group of two cherubs, one holding a harp and the other writing on a scroll, the base with a bird, a wreath and encrusted flowers, damages (12.5cms high). Also with another porcelain group possibly by Meissen, emblematic of the Arts with cherubs, easel and palette, and on a rocaille base, with possible feint Crossed Swords mark, and impressed number (14cms high). (2). ** Harp group, has a crack running from the top of the base near the bird and runs underneath into the centre, hands and feet with chips, birds beak chipped, horn chipped, cherub with wings missing, small chips to flowers, some wear to gilding Arts, finger chipped, palette chipped, various marks in places and quite dirty, some wear to gilding, flowers chipped in places, possible restoration to end of cloak.
Loading...-
7199 item(s)/page