A collection of costume jewellery including various faux and cultured pearl necklaces, silver and costume jewellery necklaces; various brooches, earrings, beaded necklaces, watches etc.Footnote: Note: Lots 297-310 for part of the collection of Ellen Mary Victoria Fludder (nee Lowe). Ellen was the daughter of John Lowe, whose antiques shop, J. Lowe was a well-known feature of what was then 138 Wardour Street, London, during the early 20th Century, the street numbers have since changed. Originally a watch and clock repairer, John expanded the business to include antiques, primarily jewellery and oriental art. John became a well-known and respected antiquarian and clockmaker, and indeed his youngest son John Harold Lowe remembered visiting Buckingham Palace with his father, where he was employed to wind the clocks for Edward VII or George V. Adverts from the period show a novel approach to marketing, using lines from Shakespeare to expound upon the virtues of dealing with such an exemplary antiquarian as J.Lowe; ‘China dishes, Very Good Dishes! / The Stamp of Merit. / I will buy with you! Sell with You!/ Old and Antique’ reads part of the poem, borrowing lines from The Merchant of Venice, Measure for Measure and Twelfth Night among others. This literary flight of fancy rather foreshadows another foray into the literary world the family would later take. Born in May 1897, Ellen was a favourite of her father’s and though she was sent to boarding school in Devon at a young age, she and her brothers were later educated in London, and living above the shop, surrounded by such curiosities and attending various auctions and dealers’ shops, it is little wonder that she began to take a lively interest in her fathers’ business. Though very much a woman in man’s world, she became a well-known fixture in her fathers’ shop and at the London salerooms. Indeed, one of her regular customers, who she met when she was around 18, was the author Edgar Jepson (1863-1938), who was a keen collector of antiques. As well as writing detective fiction, Jepson was also a translator, most notably of the Arsène Lupin stories by Maurice Leblanc, which are currently enjoying a revival on Netflix. He was quite taken with the character Ellen cut in the shop, and certainly, the curiosities of the Far East which filled the shop offered much scope for his creative mind. His 1927 novel, ‘Miss Timmins and Lord Scredington’ is based around J.Lowe and Ellen is the inspiration for the title character, Miss Timmins. ‘Miss Timmins runs an Oriental curio shop, and her adventures with strange and beautiful pieces of jade and lapis lazuli and chalcedony, carved by the artists of the East, and the strange and sometimes dangerous customers they bring her, are always amusing and thrilling.’ Edgar opens the novel with a direct reference to the frustrations of a ‘lady antique dealer’ in a world of men, and throughout her adventures the feisty Miss Timmins enjoys nothing better than getting the better of her male competitors, who often underestimate her. The novel has everything you could want from a 1920s cosmopolitan adventure novel; a rakish Lord smitten with the heroine, tea dances at the best places in town, brushes with the occult and unscrupulous antiquarians; certainly, if only a fraction of it is true, Ellen had a rather interesting life! J.Lowe closed in 1924, after the death of John Lowe, and Ellen later went on to work for Reville Terry, a Couturier on Grosvenor Square as their jewellery buyer, regularly travelling between London and Paris to see the latest collection. Lots 297-310 are not only a collection of beautiful jewels, very much of their time; but also, a lovely throwback to the exploits of Miss Timmins, and her love of Chinese jades; indeed one could almost imagine one of the jadeite brooches on her lapel, next to her infamous jade cloak hook which sent Lord Scredington so wild with envy as she raced about town in search of her next ‘find’.
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
Cabinet; Flemish School; first half of the 17th century.Ionised wood and oil paintings on copper.It has a carving of the Virgin and Child.It has faults, damage, loss of two drawer registers and later additions such as one of the hinges.It has slight paint losses and restorations.It retains the iron fittings and two keys (one old and one current).Measurements: 77.5 x 70 x 50 cm (open); 26 x 18.5 cm (crucifixion); 23.5 x 11 cm (side, x2).Cabinet made of ebonised wood with a volumetric structure in a rectangular format. The piece is structured on a base with sharp edges and a baroque aesthetic defined by four legs carved with geometric motifs, on which stands the foot, which has a sober design, but dynamic at the same time due to the protrusions and protrusions. The rectangular body is divided into two areas: the rear and the front. The opening of the rear area, which has a hinged lid, reveals a compartmentalised interior, populated by small drawers that vary in size. It is true that the piece does not have two of the registers, so small drawers are missing. As for the front part, it has a drawer at the base with an ornamental lock, and in the upper part two doors also with locks, which give way to an interior in which the upper part can be folded down, so that the total opening of the same creates a top that finishes off the structure, thus becoming a kind of chapel. The hinged doors, the centre and the top are decorated with oil paintings. Dominating the whole is the crucifixion of Christ, accompanied at the foot of the cross by Saint John and the Virgin. This iconographic form evolved from the original Byzantine Déesis, which depicted Christ in Majesty accompanied by Mary and St John the Baptist. In Western art, the depiction of Christ on the cross was preferred as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. The interior of the left door shows the figure of Saint John the Baptist, dressed in the usual red cloak, which alludes to his martyrdom. Next to him is the presence of a lamb, which represents Jesus Christ, and he supports a cross of reeds, although in this case the usual phylactery with the inscription "Ecce Agnus Dei" is not visible. The right door shows the kneeling, praying figure of Saint Francis, the son of a wealthy Italian merchant. Baptised John, he soon became known as "Francesco" (the little Frenchman), because his mother came from that country. His youth was joyful and carefree until the age of twenty-five, when he changed completely and began to dedicate himself to the service of God, practising the Gospel ideal: purity, detachment and joy in peace. Francis renounced the great inheritance he had received from his parents and decided to live poorly, setting an example of a true Christian. He soon had several young disciples, called by the saint "the Order of Friars Minor". In 1210, Pope Innocent III granted them the foundation of the new order and encouraged them in their evangelical tasks.In the upper crest, the ornamentation is enriched by the presence of a carving depicting the figure of the Virgin and Child, inscribed in a break of glory that is defined by the golden rays emanating from the body of the mother of Christ. Finally, rounding off this pictorial ensemble, a circular oil on copper contains the figure of God the Father, holding the orb in one of his hands, which alludes to his control over the universe.
Spanish or Italian school; 17th century."Bust of the Virgin.Oil on canvas. Re-drawn.The canvas of this work has been cut out.It presents repainting.Measurements: 39 x 32 cm.This devotional work presents us the face of the Virgin Mary, in the foreground and captured at great size, occupying most of the pictorial surface. It is a monumental figure, worked with great delicacy and directly illuminated by a clear, uniform, classical light. Mary stands out against a neutral, ethereal background, illuminated around her head by the halo of golden light. The Virgin is dressed in a red tunic, alluding to the Passion of Christ and her own grief at the death of her Son, and a blue cloak, common in Marian iconography as a symbol of the concepts of truth and eternity.Baroque painting is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, with the works sometimes being financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying throughout the century in the depiction of expressive values.
A Household Cavalry cloak: (light moth).* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".
HOWARD THE DUCK, SILVER SURFER, HULK, NAMOR, DR. STRANGE, 2001, SUPER VILLAIN TEAM-UP, CLOAK & DAGGER LOT (24 in Lot) (MARVEL) Includes HOWARD THE DUCK (1975) #1 + SILVER SURFER (1992) 67, 68, 69 & ANNUAL #5 + HULK ANNUAL (1992) #18 + NAMOR ANNUAL (1992) #2 + DR.STRANGE ANNUAL (1992) #2 + 2001: A SPACE ODYSSEY (1976) #2, 3, 4 + SUPER-VILLAIN TEAM-UP (1975/80) #3, 6, 7, 8, 9, 11, 12, 13, 14, 16, 17 + CLOAK & DAGGER (1988 & 1983 ) #1 (x 2) - Flat/Unfolded
Colonial School. Probably from the Viceroyalty of Peru. Last quarter of the 18th century.Folding screen. Oil on canvas. Open measurements: 260 x 570 cm. Measurements of each section: 260 x 57 cm.The screen is composed of ten sections, decorated on both sides with descriptive scenes which draw on different influences. On one of the two faces, an urban scene is depicted in which, in the centre of the composition, there is a large and monumental fountain placed in a wide street with gardens in which people dressed in clothes of a Spanish taste are walking. Both sides of the street have architecture of varying types, which show the defining characteristics of Hispanic constructions. The entire scene is framed by a wide border made of scrolls and vegetation motifs which is very similar to the decoration found in pictorial work with a Hispanic origin from Latin America in colonial times.The folding screen was originally an entirely oriental piece of furniture which arrived in Europe via Latin America, where it was adopted, resulting in the creation of workshops that produced them especially in New Spain, where they became essential decorative pieces in the large New Hispanic houses. They are largely characterised by their great size and their painted decoration which covers historical, topographical and costumbrist themes. These characteristics are clearly appreciable on this screen, thus making it much closer to the screens of Hispanic origin.The other side is decorated with a large open landscape with architectural elements in which different scenes take place. The many characters which appear in the scenes, some dressed in courtly wear and others as artisans, undertake different activities, in different scenes with a clear French influence. The perimeter of the scene is edged with a moulded border painted in imitation of marble, making a frame.Within the mixed crowd, there are two highly interesting characters. On one side there is a Chinese high official who rides on the back of a horse with a singular cap and braid from the area and slanting eyes, which could be a hint as to the origin of our anonymous artist. On the other side, a feminine figure dressed typically in a Peruvian cap and cloak, while playing the flute. This can maybe give us another clue about our artist, and help us to work out the origin of this screen.Historians have often highlighted the importance that the Manila Galleon had on New Spanish art and culture. Teresa Castelló was certain that among the Japanese and Chinese people that settled in Latin America after those embassies had been installed, there would have been artisans who began to make folding screens, firstly on wood and then on canvas. It is possible that our screen was created by a Chinese artist who had been Christianised or Hispanicised in the Viceroyalty, or a New Spanish artist of a culturally mixed background.Based on the studies on the notarial inventories of the city of Lima during the 18th century, it is known the importance that the folding screens had among domestic furnishings in the Viceroyalty of Peru, not only in New Spain.During the 18th century, as well as establishing the production of folding screens in New Spain and exporting them to the rest of the Americas and Europe, local manufacturers must have appeared in other parts of Latin America, such as Peru, Guatemala and Colombia, which adapted themselves perfectly to local tastes and the materials commonly used in furniture-making in the area. The assimilation and reinterpretation of screens within Latin American material culture resulted in some original artistic dynamics which can be associated with creole taste and identity.Our folding screen currently forms part of a collection in Madrid. Its original state has been preserved as it has never been restored, although there is some slight damage which does not in any way alter the distinction of the piece.Provenance: - A palatial home in Extremadura. - Private collection, Madrid.
A 19th century Meissen group of putti emblematic of the Four Seasons, Winter seated on rockwork, wearing a cloak and holding a small brazier, Autumn seated on a barrel holding a wine glass and jug, Summer holding a wheat sheaf and embracing Spring wearing a wreath of flowers, the base moulded with gilt-edged scrollwork, a tree between the figures, 14.5 cm high, crossed swords mark in underglaze-blue, incised model number 1068, 14.5 cm high x 15 cm wide A/F
Marvel Issue one comic book collection, featuring a total of 10 beautiful comics, titles include: Warlock, Strange Tales: featuring Cloak and Dagger and Doctor Strange, Star-Lord: The Special Edition, Tales of Asgard, Squadron Supreme (number 1 in a twelve issue limited series), Bloodstone, King Conan, Strikeforce: Moaituri, Conan The Barbarian and No Prize Book. These beautiful comic books are in great condition and would make a great addition to a comic book collection or start up. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Marvel, Cloak and Dagger/ The Saga of Crystar Cystal Warrior issues1-4 comic book collection. These lovely comics were released in 1983 and this collection contains Cloak and Dagger issue1 -4 plus Crystar issue1-3. These comic magazines are in great condition, making a great addition to a DC/ comic book fan collection. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Marvel, Collection of 3 Graphic Novels including Dracula, The Inhumans and Cloak and Dagger. This beautifully illustrated novels are in great condition throughout.,. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Sir Godfrey Kneller Bt. (German 1646-1723) Portrait of Sir William Twisden, 3rd Bt. (1635-1697), half-length, wearing a lace collar and brown cloak Oil on canvas 76.5 x 64.5cm; 30 x 25in Provenance: Shepherd Bros., London; David and Paula Newman Literature: C.H. Collins Baker, Lely and the Stuart Portrait Painters (London 1912), vol.II, pp.82-83 (illustrated)
Sir Godfrey Kneller Bt. (1646-1723) Portrait of Lady Anne Walpole (1657-1722), three-quarter-length, wearing a gold dress and blue cloak, seated in a wooded landscape Oil on canvas 127.1 x 103.3cm; 50 x 40½in Provenance: The Dukes of Leeds, Hornby Castle, and by descent to the previous owner; By whom sold, Christie's, London, British Pictures, 14 November 1997, lot 8 Literature: Historical and Descriptive Catalogue of Pictures Belonging to His Grace the Duke of Leeds (1902), no.79., in the first oak parlour, Hornby Castle The sitter was the daughter of Sir Thomas, 1st Duke of Leeds, Lord High Treasurer of England, and his wife Bridget, daughter of Montague Bertie, Earl of Lindsey, Lord Great Chamberlain of England. She married, firstly, Robert Coke of Holkham and later Horatio Walpole.
John Faber the Elder (Dutch 1660-1720) Portrait miniature of William III (1650-1702), wearing armour, lace jabot, cloak, wig and jewelled brooch, Inscribed William III (lower centre) Ink on vellum, within circular drawn border, in a gilded square wooden frame 102mm diameter Provenance: By repute found at Kensington Palace; Dr John Percy FRS (1817-1889); His posthumous sale, Christie, Manson & Woods, 15 April 1890 (all of the above according to label); The Collection of Dr George Williamson, no.235; Bonhams, Knightsbridge, Fine Portrait Miniatures, 25 November 2009, lot 112; Property from the collection of the late Timothy Clowes
Circle of Bernard Lens III Portrait miniature of a lady, traditionally identified as Maria Clementina Sobieska, wife of James Stuart 'The Old Pretender', wearing a green dress and red cloak, and standing in a landscape Watercolour on vellum, rectangular, in a gilt metal frame 150 x 112mm Provenance: Henry George Bohn (1796-1884); Property from the collection of the late Timothy Clowes Literature: Henry George Bohn, Catalogue of the Pictures, Miniatures and Art Books, Collected during the Last Fifty Years, (London, 1884), p.317, no.638
PEGGY DAVIS CERAMICS EROTIC SCULPTURE OF 'THE TEMPTRESS',by Victoria Bourne, with pale yellow cloak, the base painted with stylised foliage, 28cm wideCondition report: Some very light general surface wear, in keeping with age. No discernible damages or restoration otherwise. Additional images available.
Italian school, 15th century."Saint John the Evangelist".Mixed media on parchment cut out and glued to black card.It probably comes from a Gothic cantoral.Measurements: 16 x 11.5 cm; 20 x 14.5 cm (total).This painting of Saint John the Evangelist probably comes from an Italian Gothic cantorial, being a representation that decorates an initial ("I") of a codex or illuminated book. The Evangelist is recognisable by his typical physiognomic features: beardless, with wavy hair and a youthful appearance. He wears a long talar tunic and a red cloak that crosses in front of his body and is held at the left shoulder, creating a subtle play of folds. St John holds a closed book in his left hand, alluding to his status as an apostle and evangelist, and a chalice in his right. The full-length figure stands against a gilded background, decorated with scrolls and topped with sinuous acanthus leaves, which form the ends of the "I". The vegetal decoration based on acanthus leaves and scrolls, as well as the predominance of gold and Gothic pink, are characteristic elements of medieval cantorials, in which the capital letters focused the ornamental attention.
Spanish school; 16th century."Saint Peter".Carved wood, gilded and polychromed.Measurements: 64 x 45,5 cm.Relief in wood with the figure of Saint Peter in the centre. The work has a golden background, with a fine carving in which a checkerboard can be seen covering the whole surface. In the centre of the support is the figure of the saint, which has a greater volume. Iconographically, the identification of the main figure is evident due to the attribute of the two keys that he holds in one of his hands. In addition, the religious figure wears the usual green tunic and red cloak.Saint Peter (Bethsaida, c. 1 BC - Rome, 67) was, according to the New Testament, a fisherman, known to be one of Jesus' twelve apostles. The Catholic Church identifies him through the apostolic succession as the first Pope, based among other things on Jesus' words to him: "You are Peter, and on this rock I will build my Church, and the power of Death shall not prevail against it. I will give you the keys of the Kingdom of Heaven. Whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven". St. Peter could be said to have been Jesus' confessor, his closest disciple, the two being united by a very special bond, as narrated in both the canonical and apocryphal Gospels.
French school, ca. 1700."Male portrait.Oil on canvas. Re-coloured.Size: 76 x 59 cm; 83 x 68 cm (frame).In this canvas we see a gentleman elegantly dressed in the fashion of the time, portrayed half-length in the foreground, on a neutral and dark background from which the figure emerges with illusionism, illuminated directly by a homogeneous light, which leaves behind the excessive and chiaroscuro contrasts of lights and shadows of the previous century. He wears a powdered wig. As with the "couturiers" or couturiers, hairdressers became known by name, and by the 18th century they had become a recognised profession. Wigs were made from human hair, goat's hair, horsehair or vegetable fibres, and were worn by men and women of all classes. His torso is covered by armour, as well as by a cloak of wide, chiaroscuro folds of Baroque heritage, in this case in red.
Italian school; second half of the 17th century."Penitent Saint Jerome".Oil on canvas.The original canvas is preserved.It has repainting and restorations.Measurements: 122 x 86 cm.The present canvas presents a typical iconography of the 17th century, in which Saint Jerome is shown. He reached a great popularity during the Counter-Reformation, due to his repentance and contemplative life, useful values to move the faithful. Saint Jerome is one of the four great Doctors of the Latin Church. He was born near Aquileia (Italy) in 347. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. In the second half of the 16th century a new iconography emerged in which the saint listens to the trumpet of the Apocalypse, an iconography widely used by the Counter-Reformation Church. The distinguished saint is usually depicted inside a cave or in the middle of the desert, and is usually, though not always, accompanied by his characteristic attributes: the stone symbolising the rigour of penance, with which he beats his chest; the skull, symbolising death; and the red cloak, which reflects the tradition that made him a cardinal. The accumulation of books and parchments next to the saint alludes to the saint's translation of the Bible into Latin, which since the Council of Trent has been considered the only official translation. Finally, the theme of Saint Jerome hearing the trumpet of the Last Judgement became fashionable in Counter-Reformation Europe and gradually became established, displacing previous interpretations of the saint as a sage or penitent.The present canvas depicts Saint Jerome penitent in the desert through a classical, clear and open composition. The saint is depicted full-length, emphasised by the lighting and also by the intense crimson of his cloak. He is located in a rocky setting, enclosed on the left side and open to the landscape (to a grey, leaden sky) on the opposite side, a composition directly derived from the teachings of the Italian classicist Baroque. Next to it we see the lion, lying at his feet, the skull and the writings.
2nd-3rd century AD. A bronze figure of the river god Potamos or Flumen, modelled as a mature, bearded figure reclining on his couch, a cornucopia leaning against his left arm, water-pitcher in hand, a plumed staff against his right arm, nude except for the cloak wrapped around his waist. See Durham, E., Metal Figurines in Roman Britain, Vol.I-II, Reading, 2016, pl.163. 175 grams, 63mm wide (2 1/2"). European art market in the 2000s. UK private collection. Property of a Surrey gentleman. Potamoi, Flumina, and Amnes were the Greek and Roman river gods, sons of the great earth-encircling river Okeanos (Oceanus), or of Zeus-Jupiter. The veneration of waterways and rivers had ample space in the worship and legends among the Greeks and Romans. For Homer, rivers were immortal like other gods and participated at the assemblies of Olympus. They were honored as givers of food and healers, and received sacrifices, initially even human sacrifices. Among their symbols were the water jug and the cornucopia, often associated with the Nile.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
1st century BC-3rd century AD. A group of three miniature bronze statuettes comprising: a male youth modelled sitting with one leg at a right angle, the other tucked beneath the body, hands reaching upwards, detailing to the face, hair and buttocks; a small figure modelled with legs held out in front of the body, arms out to the sides, detailing to the hair and face; a male figure, possibly Hercules, standing nude with muscular torso and semi-naturalistic detailing to the face, holding a club in one hand, a cloak draped over the other arm. 40.8 grams total, 21-42mm (1 - 1 1/2"). Ernest Brummer collection, circa 1960s. Important North West London collection. [3] Fine condition.
1st-2nd century AD. A group of votive terracotta figures comprising: the bust of the god Serapis, depicted bearded as Zeus and Hades, with a bushel of wheat on his head; a bust of Isis, with spiral curls on the forehead and the Hathoric crown; a bust of the divine child Harpocrates, with the typical fingertip just below the lips of his mouth, his head covered by his Egyptian Royal Crown; part of a statuette of a female worshipper in orans pose, the right hand raised in prayer, the body covered by a folded cloak and the oval face framed by a rich Graeco-Roman coiffure; each mounted on a custom-made display stand. Cf. Savvopoulos, K., 'Popular divine imagery in Hellenistic and Roman Alexandria. The terracotta figurines collection of the Patriarchal Sacristy in Alexandria' in The Annual of the British School at Athens 2019, pp.1-52, figs.14,15,39,42; for the iconography of Serapis see Milleker, E.J., ‘Three Heads of Sarapis from Corinth’ in Hesperia: The Journal of the American School of Classical Studies at Athens, vol.54, no.2, Apr.-Jun., 1985, pp.121-135. 280 grams total, 80-87mm high (405 grams total, 10-10.5cm including stands) (3 - 3 1/2 (4 - 4 1/4)"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. These statuettes are all votive pieces linked to the cult of Egyptian deities, like Serapis, Isis and Harpokrates, inside the Roman Empire, and are probably a product of an Alexandrian workshop. Harpokrates, son of Sarapis and Isis, the deity-symbol of rebirth and fertility, was perhaps the most popular deity to be represented in terracotta figures. Serapis was known to the Greek and Roman world already in the 3rd century BC in Alexandria, where Ptolemy I built a Serapeum in honour of the god. The name of the god is considered to be composed from the names Osiris and Apis-the bull and means 'Osiris the bull' since after his death he became the ruler of the Outer world, while it was also believed that Osiris lived in the world through Apis. [4, No Reserve] Fine condition.
4th century BC. A terracotta figure modelled as the god Herakles (Hercules) standing nude, his club held in his right hand, wearing a lionskin cloak with the jaw serving as a hood, semi-naturalistic anatomical detailing to the muscular torso, genitals and face. See the Herakles from the Cesnola collection, at the Metropolitan Museum of New York, inventory no.74.51.2455; see also the bronze figure in the MET inventory no. 96.9.430, and the other limestone Heracles from Cyprus (4th century BC) in the Cesnola collection, inv. no.74.51.2660. 1.6 kg, 31.5cm high (12 1/4"). UK collection, 1980s-1990s. Acquired from a shop in Chichester, UK. Herakles is presented here as a hero of extraordinary strength and vitality but also as a beautifully groomed and civilised individual. This aspect is emphasised on many iconographies, where Herakles is equal to the god Apollo. The statuette was probably made as a dedication in a sanctuary. The rigidity of the statuette in influenced by archaic models of the hero, already visible in Phoenician-Cypriot art.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
3rd-2nd century BC. A marble head of divinity, probably depicting Ceres (Greek Demeter), the physiognomic features of the face still well delineated, with evidence of eyes, eyebrows, nose; the thick hair gathered under the cloak covering the head (capite velato), the head surmounted by a partially preserved diadem; two parallel grooves on the sides of her face, probably intended to house metallic earrings; mounted on a custom-made display stand. 390 grams total, 81mm high (11cm including stand) (3 1/4 (4 1/4)"). From the late Alison Barker collection, a retired London barrister; from her collection formed 1960s-1990s. This marble bust, belonging to a small statue (maybe a domestic lar) apparently belongs to the typologies of the Roman copies of the ‘well garlanded’ Demeter, a Greek original prototype from the 4th century BC, a famous example of which is preserved in the Museo Nazionale Romano, Palazzo Altemps, Rome, Italy. Fair condition.
Bassett-Lowke 0 Gauge (or larger) pre-war Tinplate Advertising Signs, including Castrol (3), Spratt's Dog Foods (2), Mazawattee Tea, Sutton's Seeds, Schweppes (2 different), Gaymer's Cyder, Nestlé's Milk (2), Swan matches, Whitbread's, Player's, Will's Gold Flake, Worthington, Bass, together with two white-on-black station signs 'Cloak Room' and 'To The Trains', all G-VG (20)
Life Guards Officer's Dress Sleeved Cloak maroon, single breasted, long coat. Large, fold over, black collar with oak leaf design, bullion lace decoration. Black shoulder straps. Lower cuffs with gilt, QC regimental small buttons. Lower collar with gilt flaming grenade collar chain. Internal tailor's label. Minor wear. Payment by BANK TRANSFER ONLY
Loading...-
7199 item(s)/page