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Click here to subscribeA French gilt-brass mounted walnut vitrine on chest, of Louis XV style, 19th century, the broken swan neck pediment above door, enclosing mirrored back, and two drawers, the serpentine front base with two drawers, on cabriole legs, 181cm high, 61cm wide, 41cm deepCondition Report: scratches, stains and old gouges throughout, splits to sides of top section, lacking one shelf, some splits to veneer, structurally sound
An Egyptian limestone statue of Sekhemankhptah Old Kingdom, 5th Dynasty, circa 2389-2255 B.C.Statue: 121cm high x 51cm wide x 40cm deep; plinth: 91cm x 71cm x 61cmFootnotes:Provenance:Tomb G7152 at Giza, excavated by George A. Reisner and the Harvard University-Boston Museum of Fine Arts Expedition, during the digging season of 1926-1927.This statue is referenced in Reisner's diary entry of 29 January 1927 (vol. 20, p. 667): 'uncovered the two seated statues at door of G 7152, and a broken standing statue at north side of door, fallen in several pieces'.Vincent (1886-1967) and Olga (1906-2000) Diniacopoulos collection, Canada, acquired from the Khawam Brothers, Cairo and likely brought to Canada in 1951.Property from a Canadian Private Collection, a portion of the proceeds intended for the benefit of Concordia University, Montreal; Sotheby's, New York, 5 June 1999, lot 25.Private collection, New York, acquired at the above sale, until 2018.Published: La Presse, Montreal, 15 May 1954 (illus.).V. and O. Diniacopoulos, Collection Monsieur et Madame D., Vincent et Fils, Valleyfield, 1954, p. 5, no. 6.R. Belle-Isle, Exposition d'art antique, Chambly, Quebec, 1965, p.5.J.E. Francis and G.W.M. Harrison, Life and Death in Ancient Egypt, The Diniacopoulos Collection, Montreal, 2004, p.59, fig. 5.6.J.M. Fossey and J.E. Francis, The Diniacopoulos Collection in Quebec: Greek and Roman Antiquities, Montreal, 2004, p. 22, fig. 1.4 for a photograph of Vincent and Olga unboxing pieces including Sekhemankhptah at the Séminaire de Valleyfield in 1955.Exhibited: Séminaire de Valleyfield, Quebec, Diniacopoulos Collection, from 1954. Ecole Gérard Filion, Chambly, Exposition d'art antique, 1965.The tomb of Sekhemankhptah is dicussed in the following publications:G.A. Reisner, A History of the Giza Necropolis I, Cambridge, 1942, pp. 210, 312. W.H. Smith, A History of Egyptian Sculpture and Painting in the Old Kingdom, London, 1946, p.200 (recording the decoration of the interior of the offering-room of the tomb: 'The east wall retains a fragment of an agricultural scene, and the north wall is decorated with scenes showing the care of cattle. The west wall has a presentation of animals').B. Porter & R.L.B. Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings 3: Memphis, 1974, p. 191.A. Bedawy, The Tombs of Iteti, Sekhem'ankh-Ptah and Kaemnofret at Giza, Berkeley, 1976, pp.15-24, figs. 18-24, pls. 14-23, including detailed description of the decoration of the tomb and drawings of such. Sekhemankhptah's titles are listed on p.22.N. Strudwick, The Administration of Egypt in the Old Kingdom: The Highest Titles and Their Holders, London, 1985, pp.134-5. V.G. Callender, 'A Contribution to the Burial of Women in the Old Kingdom', in F. Coppens (ed.), Abusir and Saqqara in the year 2001. Proceedings of the Symposium, Prague, September 2001, Archiv Orientálni 70, no. 3, 2002, p. 303, no. 15.Sekhemankhptah was a highly important Egyptian official during the 5th Dynasty of the Old Kingdom. His mastaba tomb is located southeast of Khufu's pyramid in Giza, one of 'the most important necropolises for Egyptian royalty and the upper echelons of officialdom during the Old Kingdom' (P. Der Manuelian, 'Excavating the Old Kingdom, the Giza Necropolis and Other Mastaba Fields', in Egyptian Art in the Age of the Pyramids, New York, 1999, p. 139). It was excavated in 1926 by George Reisner, and the hieroglyphic texts on the interior demonstrate the pre-eminent role Sekhemankhptah played in the royal court. Sekhemankhptah is named as 'Count; Sole companion of Pharaoh; Chief judge, vizier; Staff of the people; Mouth of all the people of Pe; Royal chamberlain; Privy to the secret; Overseer of the scribes of the documents of the king; Scribe of the documents of the king; Overseer of all the works of the king; Overseer of the embalming house of Pharaoh; Overseer of the embalming house'. These titles suggest that Sekhemankhptah was second only to the king himself. His wife, Bwnefer, is named as 'Real royal daughter', suggesting she was the daughter of a Pharaoh (Reisner refers to Sekhemankptah as 'husband of a princess'). They had two children, a son named Seshemnefer and a daughter named Meritites.The extraordinary, monumental, size of this statue, highly unusual for a non-royal sculpture, is further testament to Sekhemankhptah's high status. It is also an exceedingly rare example of an unfinished Old Kingdom sculpture of a non-royal personage, which offers a fascinating insight to the technique and skill of the earliest sculptors of Pharaonic Egypt. Sekhemankhptah retains original chisel marks, and the carving of the wig and kilt are clearly unfinished. The surface has also not been polished to the typical degree. It has been suggested that the figure was coated in plaster, with the finer details rendered in paint, though it seems more likely that the statue was placed in front of the tomb prior to being finished (as no traces of plaster or pigment remain). The group of statuettes of King Menkaura of the 4th Dynasty at the Museum of Fine Arts, Boston (acc. no. 11.732), each in varying degrees of completion, further elucidate how these figures were finished after being installed in their final locations. Artists began by hammering out the approximate shape of the statue from a large block of stone, before refining details of the head and limbs with chisels in a series of stages of increasing refinement. After this carving and refining, rubbing stones and powdered abrasive were used to polish the surface, before an inscription was added to identify the owner. These last stages had not been completed before work on this statue of Sekhemankhptah seems to have ceased.The Diniacopoulos Collection of Ancient ArtVincent and Olga Diniacopoulos amassed one of the largest and most impressive private collections of antiquities in Canada during the 20th Century, of almost unparalleled breadth and quality. Vincent Diniacopoulos (1886-1967) was born in Constantinople to a Greek family, and was enamoured by the ancient world from childhood. From the 1920s he was participating in archaeological digs across the Middle East and undertaking art restoration, living between Paris and Cairo. His wife Hélène Olga Nicholas (1906-2000), was also Greek, and was born in Cairo. After moving to Paris in 1923 she studied archaeology at the Louvre and Sorbonne and met and married Vincent. In the late 1920s and 1930s the couple travelled extensively throughout the Middle East and Egypt, building their collection of antiquities as well as acquiring objects for major institutions including the British Museum, Louvre and Metropolitan Museum. During these formative years, they built up an extensive collection including ancient Egyptian, Babylonian, Assyrian, Hittite, Cypriot, Greek and Roman objects, ranging from sculpture and coins to ceramics, glassware and bronzes.For further information on this lot please visit Bonhams.com
Late 19th century Swiss lady's yellow metal (585) and enamel fob watch, 'full hunter'-cased, the hinged red enamel, wavy engine-turned and foliage-decorated enamel front door with seed pearl border, enclosing an Arabic dial with gilt minute markers, the plain rear door enclosing a crown-wind movement with Swiss cross and number 5.652, inner door stamped 0.585 1205, 25mm diameter (ex. crown), 38mm inc. suspension loop, 23g gross approx
George III pictorial needlework sampler, dated 1805, worked on a linen ground in coloured threads with a geometric floral border enclosing verse over house with door and window detail, flanked by the Tree of Life with Adam and Eve, stylised flower vases, trees and butterflies, over cartouche 'Rosina Tinkler, Aged 8 years, 1805', 37cm x 41cm, framed under glass
George III oak and mahogany-cased 8-day brass dial longcase clock, Seddon and Moss, Frodsham, the 13-inch break-arched having a silvered chapter ring with Roman hours, Arabic minutes and ogee minute track framing a lunar calendar ring, subsidiary seconds dial, engraved folate scrollwork and signed cartouche, within scroll spandrels, the arch painted with a fortified country house or castle and a tavern, beneath 'Halifax' axe-head rolling moon phase, the knopped four-pillar movement countwheel-striking on a bell, the case with swan-neck pediment and brass ball finials over simulated verre églomisé panels and fluted columns, the trunk with conforming quadrants flanking crossbanded long trunk door on panelled canted base and ogee bracket feet, 220cm high (sold with two weights, pendulum, key and winder)
Welsh Interest - George III 8-day brass dial longcase clock, the 11-inch square dial with silvered chapter ring having Roman hours, Arabic minutes, and inner quarter hour track framing a matted centre with silvered subsidiary seconds dial and oval cartouche engraved 'Wm. Sproston Trellegg', [Trellech / Trelleck, Monmouthshire], within baroque urn spandrels, the knopped four-pillar movement countwheel-striking on a bell, the later case with carved cresting, moulded hood door and spiral columns over dentil throat moulding, long door and palin base on splayed bracket feet, 222cm high, (sold with two weights, pendulum - lacking feather - and key)
Dinky 930 Bedford Pallet Jekta Van "Dinky Toys" - two-tone yellow body, yellow Supertoy hubs, complete with 3 x original plastic pallets & instruction leaflet dated 12/59 - Good Plus with some REPAINTING to hood & right hand cab door, also the word "Toys" on right hand side of rear body is REPRODUCTION in Good Plus box.
Dinky 954 Fire Station Kit - missing 1 side window glazing & 2 x base retaining nuts, 1 door also missing 1 retaining tab - Good (requires cleaning) in Fair box; along with damaged spare roof & roof glazing Poor with crude repair; along with 6 x various Dinky Toy Plastic Firemen - Excellent unboxed. (8)
Dinky group of British Cars to include 163 Bristol 450 Coupe - green body, silver trim, mid-green ridged hubs with smooth tyres, racing number 27 on sides and front - Excellent in a generally Poor plain yellow and red carded box; 167 AC Aceca Coupe - two-tone cream, brown upper and full length trim, silver bumpers and grille, light beige ridged hubs with treaded tyres - Excellent (couple of small marks on roof and door edges) in a Poor yellow and red carded picture box with correct colour spot; 233 Cooper Bristol Racing Car - green body, silver trim, white racing number 6 & figure driver, chrome ridged hubs with grey treaded tyres - Excellent (couple of very minor marks on front nose) in Poor to Fair plain yellow & red carded box. (3)
Dinky Pre-War 103 Dolly Varden Dolls House Bedroom Furniture - cooker has mottled blue paint finish, all other components have a solid mid blue paint finish - fridge is fatigued, oven door also has some mild fatigue, otherwise free from any visible signs of fatigue - Fair to Good Plus, re-strung onto Good Plus original backing card, in Fair worn but still complete box with Good lid illustration but missing end label.
Dinky Group of Police Cars - to include 257 Nash Rambler "Fire Chief" Car - red body, small roof light, silver trim, chrome spun hubs with black treaded tyres; 2 x 258 Cadillac "USA Police" Car - (1) black body , off white interior, red solid roof light, grey plastic aerial, spun hubs with black treaded tyres - (2) as (1) but ivory interior; 264 Ford Fairlane "RCMP - Royal Canadian Mounted Police" - dark blue body, white door panels, off white interior with 2 x figures, red solid roof light, grey plastic aerial, chrome spun hubs with black treaded tyre - Good to Excellent in poor boxes. (4)
Dinky Group of British Cars & Caravan - Including (1) 188 Four Berth Caravan - yellow with grey door, clear roof window, spun hubs; (2) 195 Jaguar 3.4 Saloon - light grey body, red interior, spun hubs; (3) 255 Mersey Tunnel Police Land Rover - red body & ridged hubs; (4) 257 Nash Rambler Fire Chief Car - red body, spun hubs - generally Good to Excellent in Fair to Good boxes. (4)
Dinky pair of Emergency Vehicles - Including (1) 264 Ford Fairlane R.C.M.P Police Patrol Car - dark blue body with white door panels, ivory interior with 2 x figures, grey plastic aerial, spun hubs - Excellent in Fair box (missing inner end flaps and 1 end flap); (2) 258 Desoto Fireflite USA Police Car - black body with white door panels, spun hubs - Excellent Plus (missing aerial) unboxed. (2)
An 18th Century European cabinet on stand, the spindle rail cornice over an eight drawer and single door front with fine ivory and tortoiseshell figural, nautical and equestrian scenes. Provenance: Reputedly originally from Boyce Hall, Gloucestershire. 150cm x 96cm x 39cm IVORY REFERENCE CODE 61BPRWT2
Two boxed Dinky Toys diecast model vehicles, No.108 Sam's Car - Joe 90, chrome plated finish, red engine cover, yellow interior, cast hubs, blemishes/scratches to chrome. Box poor with scribble. No.128 Mercedes-Benz 600, metallic maroon body, white interior, spun hubs, drivers side front door (poor) paint loss / repair. Chipping to paintwork, damage to perspex case.
Aristocrat: An Aristocrat Elite, operating on old ten pence play, one arm bandit, vintage coin operated amusement slot machine. Plays and pays out, lights up, twin jackpots, original chrome. Two games for ten pence. Some coins included. Complete with locks and keys for main door and cash tray. Fully working but buyer should have electrics tested before use. Measuring approx. 50cm width, 80cm height, 40cm depth. Please assess photographs.
Sega: A Sega Mad Money, operating on 3d, one arm bandit, vintage coin operated amusement machine. Plays and pays out. Mad Money reels and illuminated top box. LED lighting, good chrome. Some coins included. Complete with back door and cash box. Door has replacement lock & key. Fully working but buyer should have electrics tested before use. Measuring approx. 43cm width, 83cm height, 47cm depth. Please assess photographs.
Charles van Loo, 1705 – 1765, zug.GemäldepaarMUSEALE GEMÄLDE EINER KÖNIGLICHEN HOCHZEITSKUTSCHE Öl auf Eichenholz.61,5 x 54 cm.Die beiden Bilder museal und höchst selten. Sie bildeten ursprünglich die Türbemalungen einer vergoldeten Prunkkutsche, wie sie in Paris für königliche Staatsprozessionen und Hochzeiten gefertigt wurden. In der Pariser Kutschen-Werkstatt arbeitete Van Loo zusammen mit seinen Mitarbeitern für die malerische Dekoration. Dabei sind die Hauptfiguren stets von der Hand des Meisters, die Nebendekoration von den Mitarbeitern. In der Regel enthalten die Darstellungen allegorische Bezüge zu Hochzeiten oder Krönungen. So sind auch hier die beiden bemalten Türverkleidungen mit Krönungsmotiven entsprechend allegorisch bemalt. Vor Blattgold-Hintergrund erscheinen jeweils fünf Putten auf Wolkenbänken. Sie stellen verniedlichte mythologische Götter und agieren entsprechend einem Hochzeitsereignis: In einem der Bilder vertritt ein Putto den Bräutigam als Gott Jupiter mit Blitzbündel und Helm. Er weist auf sein königliches ovales Wappen mit Krone. Links daneben Mars mit Schwert, darüber Flora, die die Krone hält. Links unten sitzt Amor im roten Umhang, Merkur mit einem Buch neben seinem Stab rechts auf der Wolke. Das Gegenstück ist der königlichen Braut gewidmet. Hier sind ebenfalls fünf Putten auf Wolken zu sehen. Eine mädchenhafte Puttenfigur mit rosafarbenem Velum oberhalb des noch unbekrönten Wappenrahmens erwartet die Krone. Im Zentrum unterhalb des Ovalwappens die weibliche Allegorie der Fortuna, mit einer ansehnlichen Mitgift in Form herabregnender Goldmünzen. Links darunter tragen zwei weitere Putten die Krone des Bräutigams nach oben, rechts daneben ist der Adler, Attribut des Zeus (des Bräutigams), flankiert von einem Putto mit Posaune (Ruhm). Die Innenflächen der ovalen Wappenrahmen sind mit Goldauflage überzogen. Es ist zu erkennen, dass sich darunter Adelswappen befinden. Der Grund liegt darin, dass derlei Prachtkarossen und Hochzeitskutschen mehrfach verwendet wurden, wobei jeweils neue Wappen eingesetzt werden konnten. Diese prächtigen Staatskutschen wurden in Paris gefertigt. In Deutschland war Frankfurt am Main traditionell die Wahl- und Krönungsstadt. Eine solche Prunkkarosse wurde laut Quellen für 100.000 rheinische Gulden erworben. So etwa die goldene Kutsche für die 1722 mit dem bayerischen Kurfürsten Karl Albrecht (1697-1745) vermählte, alsdann Kaiserin Maria Amalia (1701-1756) oder für den Kurfürsten Clemens August von Köln (1700-1761). Charles van Loo, in Paris für die Bemalung dieser Prunkkutschen zuständig, erhielt als „Peintre le plus habile“ 1.200 Louis d‘or, sowie „une tabatiére et montre“ in Gold als Gratifikation.Die Abbildung (Rudolf H. Wackernagel, München 2022, S. 66ff) zeigt die Prunkkarosse für Maria Amalia (Marstallmuseum, Schloss Nymphenburg), die ebenfalls mit Gemälden von Van Loo dekoriert ist. Die Malweise der hier vorliegenden Bilder stimmt mit den Malereien der Kutsche völlig überein. Charles van Loo entstammte einer flandrischen Malerfamilie. Er ging 1720 nach Paris, arbeitete zunächst mit seinem Bruder Jean-Baptiste zusammen und erhielt 1724 den Prix de Rome. 1732 in Turin, dann ab 1733 wieder in Paris, von Madame Pompadour als Rivale von Boucher gefördert. Noch vor seinem Tod wurde er als erster Maler des Königs in den Adel erhoben. Van Loo war Lehrer des Jean-Honoré Fragonard. A.R.Literatur: Vgl. Rudolf H. Wackernagel, Staats- und Galawagen der Wittelsbacher. Kutschen, Schlitten und Sänften aus dem Marstallmuseum Schloss Nymphenburg, München 2002, Bd. 2 S. 66 ff. (1381841) (11)Charles van Loo,1705 – 1765, attributedA pair of paintingsDEPICTIONS FROM A ROYAL WEDDING CARRIAGE OF MUSEUM-QUALITYOil on oak panel.61.5 x 54 cm.The two paintings of museum-quality are extremely rare. Originally, they were the door paintings of a gilt state carriage. Together with his assistants, Van Loo painted the decorations in the Paris carriage workshop.
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