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Lot 73
Servizio di posate in argento titolo 900, Italia, primi del Novecentocomposto da 12 forchette, 12 coltelli, 12 cucchiai, 12 forchette frutta, 12 coltelli frutta, 12 cucchiai dolce e 12 cucchiaini. Peso lordo gr. 6544.In astuccio d'epoca realizzato in legno e vellutoA silver cultery set, Italy, early 20th CenturyOverall weight 6544 grams. Accompanied by wood and velvet contemporary box
Lot 80
Marchak, spilla in oro bianco 18 ct realizzata negli anni Cinquantaimpreziosita da zaffiri e rubini taglio navette e da diamanti taglio brillante e taglio baguette, cts. 3.00 totali circa; diamante fancy, cts. 0.15 circa. Serie numerica 1563. Punzoni francesi in parte cancellati.Cm 10x5. Gr. 33A 1950's 18ct white gold brooch by Marchakset with navette cut sapphires and navette cut rubies, highlighted with brilliant-cut and baguette-cut diamonds, weighing approximately 3.00 carats, and a fancy yellow diamond, weighing approximately 0.15 carats.Serial number 1563. French marks (partially erased).Cm. 10x5. Overall weight 33 grams
Lot 83
Anello in oro bianco 18 ct, Sauter Lugano, 1960 circacon zaffiro centrale taglio cuscino, cts. 3.00 circa, contornato da diamanti taglio teps, cts. 3.60 totali circa.Misura 12. Gr. 9A 1960's 18ct white gold ring by Sauter, Luganoset with a cushion-cut sapphire weighing approximately 3.00 carats, highlighted with teps-cut diamonds weighing approximately 3.60 carats.Size 12. OVerall weight 9 grams
Lot 90
Hausmann & Co., bracciale orologio decò in oro giallo 18ctla parte superiore, impreziosita da diamanti, rivela all'interno un orologio Hausmann & Co (movimento Invicta a carica manuale, quadrante panna, indici applicati).Diametro interno cm. 6. Gr. 96Gold and diamond decò cocktail bracelet-watch, Hausmann & Co.highlighted with diamonds, manual movement.Inner diameter 6 cm, overall weight 96 grams
Lot 93
Giorgio de Chirico, spilla "Eva"realizzata nella seconda metà degli anni Cinquanta, in oro giallo 18ct e impreziositi da ramo in corallo, brillanti e smeraldi.Firmata "G. de Chirico" sul retro.Cm. 5.8x6.3.Accompagnata dall'autentica della Fondazione Giorgio e Isa de Chirico e archiviati al n° 43/11/12 OTGiorgio de Chirico, a 50's 18ct yellow gold brooch "Eva"set with pink coral, diamonds and emeralds.Signed "G. de Chirico" on the back.Cm. 5.8x6.3.Accompanied by certification from Fondazione Giorgio e Isa de Chirico, n° 43/11/12 OT
Lot 94
Giorgio de Chirico, orecchini "Testa di Cavallo"realizzati nella seconda metà degli anni Cinquanta, in oro giallo 18ct e impreziositi da diamanti e rubini.Firmati "G. de Chirico" sul retro (uno a destra, l'altro a sinistra).Cm. 2.5x3Accompagnato dall'autentica della Fondazione Giorgio e Isa de Chirico e archiviati al n° 49/11/12 OTGiorgio de Chirico, a pair of 50's 18ct yellow gold earrings "Testa di Cavallo"set with diamonds and rubies.Signed "G. de Chirico" on the back.Cm. 2.5x3.Accompanied by certification from Fondazione Giorgio e Isa de Chirico, n° 49/11/12 OT
Lot 240
Orecchini in oro bianco 18 Kt rodiato con discesa di diamanti taglio brillante conclusi da elemento oscillante rettangolare centrato da acquamarina taglio smeraldo ct. 8,6 entro cornice di diamanti taglio brillante, chiusura con perno a vite e farfalla, (diamanti taglio brillante complessivamente ct. 0,80 ca.)
Lot 225
LITERATURE: Selection of signed clipped pieces by various novelists and poets including, J.M. Barrie (on a 12mo piece to the foot of a longer letter and pinned to a 4to theatre programme for a performance of Peter Pan, 13st January 1933), Walter da la Mare (on a piece adhered to the foot his poem 'The Song of the Shadows') to the verso, the signature of J.C. Squire (on a piece adhered to the foot his poem 'The March'), Lord Alfred Douglas (on a piece adhered to the foot his poem 'A Prayer'), Edith Sitwell (on a piece adhered to the foot her poem 'The Fan'), to the verso, the signature of Frances Cornford (on a piece adhered to the foot her poem 'Autumn Morning at Cambridge'), H.D.C. Pepler (on a piece adhered to the foot his poem 'The Law the Lawyers Know About' and dated 9th November, 1922, in his hand), to the verso Robert Bridges (on a piece adhered to the foot his poem 'I Love All Beauteous Things'). G to VG, 6
Lot 1016
This early single action revolver was closely associated with use by Jesse James. It is an open top with scoop flutes. Matching number on barrel and cylinder. Factory nickel finish with skull crusher bird's head frame and black composite grips. Case colored hammer and blued trigger guard. Mechanics are perfect. Near mint bore. Tight as new lock up. Perfect suction. Sharp legends. Excellent original grips with owner's initial "H&E" stamped in ovals. Right side of frame retains approximately 50% original factory nickel balance grey patina. 90% on left with some age freckling. 90% original nickel on cylinder with drag line and light age freckling. 85% original nickel on barrel, balance grey patina at breech. 50% brown patina on front and rear grip straps. Indexes perfectly. Fine unmessed with early Merwin large frame revolver manufactured in the 1870's. Serial Number-203; Manufacturer-H&A; Model-DA; Caliber-.44-40; Barrel Length-7"; FFL Status-Curio & Relic;
Lot 539
14th-12th century BC. An amazonite cylinder seal with robed figure and eight lines of cuneiform text; the figure bearded with ankle-length robe, domed cap, implement in one hand; eight-line cuneiform Sumerian inscription (1) dšà-zu gada-idim 'Goddess Shazu with the weighty veil' (2) nir-til-til [m]e an-ki 'when you speak of the total dominations of the powers of heaven and earth' (3) dug 4-ga-zu hé-sar 'let it be written' (4) da-ga-an ma-da the totality - the land (5) kur hur-sa? til-bi 'the mountain, the mountain-range, all of it' (6) nam-en-bi hé-ak 'let its overlordship be exercised (by you)' (7) di?ir-né ní-tuku-zu 'the one who reveres his goddess' (8) ka-ra-in-da-aš '(is) Karaindash'; supplied with a museum-quality impression. Accompanied by an Art Loss Register certificate. 17 grams, 37mm (1 1/2"). Property of a London gentleman; part of his family collection since the 1970s. The inscription is in an archaic, academic Sumerian which was no longer a living language when the seal was made. The text addresses the goddess Shazu, the midwife, whose worship had subsumed into that of the mother goddess. The name Karaindash appears where that of the supplicant normally appears. This name is identical with that of a Kassite king of the 15th century BC, but the identification is not secure. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. [A video of this lot is available on the TimeLine Auctions website] Very fine condition. Extremely rare.
Lot 540
Kassite, 14th century BC. An exceedingly rare chrome chalcedony cylinder seal with seated profile figure and Sumerian cuneiform inscription in eight columns; depicting a seated bearded divine figure facing left, holding a trident, three right-facing locusts above; the eight lines of scholarly Sumerian cuneiform text with a prayer to Ninurta for the prosperity of Kurigalzu's reign. Accompanied by Professor Lambert's transliteration and translation for each column which reads: (1) dkur-da-ru gada gìr / 'Ninurta, powerful lord' (2) sa? kal šà-aš-DU / 'special chief, foremost' (3) ururu mah an-ta-?ál / 'the lofty city (?) being in heaven' (4) ur-sa? dili-ni rib-ba / 'champion on his own standing out' (5) [di?ir] ní-su-ši ri-a / 'the god moving with a halo of terror' (6) ku-ri-gal-zu / '(on) Kurigalzu' (7) nun nì tuku-tuku-zu / 'the prince who reveres you' (8) bala šà dùg-ga ?ar-bi / 'place a reign of sweet heart'. The seal fitted with an antique gold pin passed through the original longitudinal perforation and a loop to enable it to be worn as a pendant; supplied with a museum-quality impression. Lüle, Çigdem, Non-destructive Gemmological Tests for the Identification of Ancient Gems, in Gems of Heaven, British Museum Research Publication 177, 2012, pp.1-3 for information on chrome chalcedony and its use in ancient times; examined by Dr. Ronald Bonewitz, with a scholarly note from him regarding the fabric of the seal, dated 17 December 2016. Lambert, W.G. Objects Inscribed and Uninscribed, in Archiv für Orientforschung, vol.23, Graz, 1970, p.49; Limet, H. Les légendes des sceaux cassites, Brussels, 1971, p.93, 6.26 and accompanied by copies of both articles, with images therein showing the gold pin in place. Accompanied by an Art Loss Register certificate. 24 grams, 51mm (2"). Property of a London gentleman; part of his family collection since the 1970s; inherited by the present owner from his father who acquired it between circa 1938 and 1950. The extremely rare green variety of chalcedony was only known to the ancients and the Romans, until circa 3rd century AD, when it disappears from history. It is only known from small worked pieces such as beads and intaglios. The source has been recently discovered as being from northern Turkey (Anatolia"). The colour derives from the presence of chromium; this piece is also of an excessively rare large size; with a printout of the Çigdem paper. Kurigalzu II (circa 1332-1308 BC on the short chronology) was the 22nd king of the Babylonian Kassite dynasty, placed on the throne by the Assyrian king, Aššur-Uballi?, who may have been a family member. He shares the same name as another king who apparently reigned earlier in the same century. Towards the end of his reign, Kurigalzu II turned against his Assyrian allies and defeated them in battle at Sugagu on the River Tigris. Kurigalzu's name is linked to a zaqiqu or 'incubation omen', in which a Kassite king (identified with him) tries to find out why his wife cannot bear a child. The transliteration of the text by Professor Lambert (1970), differs in detail from that of Limet (1971), but generally agrees as to the content of the text. Lambert identifies the text as 'Sumerian of the Cassite period seals, that is, a totally artificial language expressing Babylonian syntax and phraseology in a Sumerian often rich in recondite words and sign-values' and offers a reconstructed Akkadian version of the text as well as an English translation. 'Kuradaru' is a name of the deity Ninurta which occurs only in this text and in two other citations. The text is construed as a 'prayer for the Cassite king Kurigalzu, the second and last of the name, who ruled in the 14th century B.C. 'The seal 'obviously belonged to a servant of the king, but his name is not given.' The god shown seated in a long flounced robe raises his hand 'in a religious gesture ... a Cassite-period rendering of a very common figure on seals from the Old Akkadian to the latter part of the Old Babylonian period'. The three locusts above him may have been intended to identify the god, but if so the information is lost to us. The trident in the god's hand is less well executed than the rest of the design, leading Lambert to speculate that it may be a later addition. [A video of this lot is available on the TimeLine Auctions website] Extremely fine condition. Excessively rare and important; a museum quality exhibition piece.
Lot 816
Damien Hirst (British 1965 -) IN-A-GADDA-DA-VIDA signed colour silkscreen and offset lithograph on two sheets of wallpaper each sheet size: 106 by 52cm Damien Hirst, arguably the most celebrated creative to come from the Young British Artists (YBAs) movement, completed his training at Goldsmiths College in London. In 1988 Hirst conceived and created ‘Freeze’an exhibition of his work as well as the work of his fellow students at Goldsmiths. In the 28 years following that show, Hirst has become one of the most prominent artists of his generation. His work is widely recognised, from the shark suspended in formaldehyde, The Physical Impossibility of Death in the Mind of Someone Living (1991) and his spot, spin and butterfly paintings, through to later works like For the Love of God (2007), a diamond encrusted skull. Throughout his work, Hirst takes a direct and challenging approach to ideas about existence. His work calls into question our awareness and convictions about the boundaries that separate desire and fear, life and death, reason and faith, love and hate. Hirst uses the tools and iconography of science and religion, creating sculptures and paintings whose beauty and intensity offer the viewer insight into art that transcends our familiar understanding of those domains. “There are four important things in life: religion, love, art and science,” the artist has said. “At their best, they’re all just tools to help you find a path through the darkness. None of them really work that well, but they help. Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be alright in the end.” The wallpaper exhibited in lot 816 takes its name from the Tate Britain exhibition in which it was originally used to clad the walls of this highly respected institution. The name for the exhibition, In-A-Gadda-Da-Vida, was borrowed from the title track of an LP released in 1968 by the rock band, Iron Butterfly. The song was originally going to be called ‘In the Garden of Eden’. Legend has it that the lead singer was so drunk when he first announced the song’s title that one of the band members wrote down phonetically the slurred words ‘In-A-Gadda-Da-Vida’. The title suggests an overt theme: broadly, the contemporary consequences of the original myth of falling from grace, but the exhibition also reveals the differing formal and material approaches of three artists, Sarah Lucas, Angus Fairhurst and Damien Hirst, and how they use metaphor in diverse ways. In this exhibition, Hirst constructed complex installations inside vitrines and displayed grandiose collages using real butterflies and flies in addition to designing the very intricate wallpaper which we see in lot 816. - Barkham, P., Damien Hirst’s Butterflies: Distressing but Weirdly Uplifting, The Guardian, 18 April 2012 Online, available: https://www.theguardian.com/environment/2012/apr/18/damien-hirst-butterflies-weirdly-uplifting - Gagosian, Damien Hirst. Online, available: http://www.gagosian.com/artists/damien-hirst - Tate Britain, In-a-Gadda-Da-Vida: Angus Fairhurst, Damien Hirst and Sarah Lucas, March 2004. Online, available: http://www.tate.org.uk/whats-on/tate-britain/exhibition/gadda-da-vida
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43065 item(s)/page