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Lot 62
Felice Schiavoni (Italian, 1803-1881)Portrait of Ropen Carabit signed and dated 'Schiavoni/Ft 1824' (centre right)oil on canvas76.2 x 55.9cm (30 x 22in).Footnotes:We are grateful to Professor Fernando Mazzocca for confirming the attribution to Felice Schiavoni on the basis of photographs.Felice Schiavoni was born in Trieste and was taught to paint by his father, the renowned artist Natale Schiavoni (1777-1858). He subsequently attended the Brera Academy in Milan, and was later awarded a prize and medal by Tsar Nicholas 1 of Russia. During his artistic career, he completed a large number of commissions for Russian patrons in Venice, and also painted altarpieces for churches in Trieste, Istria and Chioggia. Schiavoni painted the present lot, a majestic and ceremonial portrait, in 1824. The sitter is 24-year-old Ropen Carabit, a native of Arabkir, depicted in Ottoman-style dress. As Master of Stables, in February 1824, Carabit journeyed from Aleppo in Syria to the Port of Trieste; his task was to accompany eight Arabian horses, a gift from the Imperial Austrian Royal Consul in Aleppo to His Majesty the Emperor and King. Arab horses were a prized possession in Europe and coveted by Imperial stables for use as cavalry mounts and personal steeds for monarchs (memorably, Napoleon Bonaparte rode an Arab stallion called Marengo). Wealthy individuals stationed in Aleppo had access to Arab horses through the Bedouin Tribes. As John A Shoup III notes in his book The history of Syria, 'Aleppo was also an important market for Bedouin horses and quickly became a supplier for Europeans wanting to improve European breeds of horses, particularly for cavalry mounts. European consuls paid high prices for Arabian stallions brought in by Bedouins, often fresh from tribal raids'1.In 1784, Raffaele de Picciotto, a Jewish Merchant from Livorno, was appointed as Imperial Royal Honorary consul in Aleppo; the first of the longest serving family to act as consuls to the Emperor, a line only ending in 1894; he was appointed a Knight of the Austrian empire in 1806. Throughout the 19th century, the de Picciotto family also served as representatives in Aleppo of many other states and countries, including Tuscany, Russia, Prussia, Holland, Belgium and the United States. One member of the family, Moise de Picciotto, had a diplomatic uniform for five different countries, as he was consul in Aleppo for Austria, Prussia, Denmark, The Netherlands and Belgium. 2A Certificate of Donation dated 25 November 1805, recorded in the de Picciotto family archives, demonstrates that an entourage of eight Arabian horses had been gifted to the Emperor ('His Imperial and Royal Apostolic Majesty of Austria') from Raffaele de Picciotto, prior to the present lot being painted. Raffaele emigrated to Tiberias in 1818, and therefore the repeat of such a generous and impressive gift was most likely ordered by Raffaele's son, Elijah, who took over as Austrian consul from his brother Ezra, who had tragically died in the earthquake of Aleppo in 1822. As subjects of European monarchs, the consuls held unique positions in Aleppo. They were primarily used by Aleppo factions to communicate with the Ottoman authorities, other local factions as well as the foreign governments they represented.4 Notably, the consuls were exempted from Ottoman taxes and were charged with giving protection to Austrian citizens. In addition, they could also assist 'fellow Aleppans gain the rights of foreign nationals in the Ottoman Empire'. 3 The power and prosperity of the Austrian Consul (especially from the many debts they were owed) allowed them to obtain 'great consideration for the Jews of the city'5. Consuls in Aleppo were sources of information, innovations and useful for hospitality, and in addition there was an established history of providing exotic and rare gifts. Remarkably, in 1668 the French consul sent gazelles, canes and pistachios to Louis XIV's minister Colbert. 6 Aleppo was a highly influential trading hub at the time, between Iran, Iraq and Europe. Its central location served as the transit point for goods - especially prior to the opening of the Suez Canal. At a crossroads of trade routes, Aleppo was also a natural destination for travellers. A diary from 1863, written by Bayard Taylor, explores the unique society of Aleppo at the time. He suggests that the 'peculiarity in society is evidently a relic of the formal times, when Aleppo was a semi-Venetian city, and the opulent seat of Eastern commerce.' He describes the etiquette and procedure for foreign visitors arriving in Aleppo: 'formerly, when a traveller arrived here, he was expected to call upon the different Consuls, in the order of their established precedence: the Austrian first, English second, French third, &c. After this, he was obliged to stay at home several days, to give the Consuls an opportunity of returning the visits, which they made in the same order. There was a diplomatic importance about all his movements, and the least violation of etiquette, through ignorance or neglect, was the town talk for days.' From his account it would appear that the Aleppan consulates provided 'universal and cordial hospitality'7.Ropen Carabit could have taken a number of different routes from Aleppo to reach Trieste (across land or by using established sea trade routes): in 1846, a French Consul estimated the time required for moving textiles from Switzerland to Baghdad (before steamships and the Suez Canal). Within this trip, there was a calculation from Trieste to Aleppo - first, from Trieste to Beirut by sailboat the estimated time was 25 days and then Beirut to Aleppo, approximately 10 Days.8The completion of the portrait by Schiavoni, in Trieste, undoubtedly marked the successful arrival of the Master of Stables and his fine horses. In 1816, Natale Schiavoni accepted an invitation from Francis I, the first Emperor of Austria, to take up residency at court in Vienna. He stayed there until 1821, painting the Imperial family and the aristocracy. He may have been the link for Felice to receive this commission in Trieste, especially as father and son worked closely together. 1 John A Shoup III, The History of Syria, Santa Barbara, 2018, p. 78. 2 Philip Mansel, Aleppo, The Rise and Fall of Syria's Great Merchant City, London, 2016, p. 38. 3 Walter P. Zenner, A global community; The Jews from Aleppo, Syria, Wayne State University Press, 2000, p. 23. 4 Mansel, 2016, p. 38.5 Mansel, 2016, p. 38. 6 Mansel, 2016, p. 17. 7 Mansel, 2016, p. 171.8 Charles Issawi, The Fertile Crescent 1800-1914 A Documentary Economic History, Oxford University Press, 1988, p. 138.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 1513
Collection of Vintage Silk Scarves five in total,various colours and designs, unlabelled. Comprising large square in shades of blue; long silk scarf with blanket stitch edging; geometric design square; satin feel Liberty style with rolled edges 31" square; and fine eorgetter long scarf with black background and large floral pattern. Together with Bob Marley Interest - comprises 7" vinyl single record, Bob Marley & The Wailers, Exodus 83. Original sleeve; Bob Marley vintage scarf, yellow, green and red with Bob Marley faces, machine knitted, fringe ends; Bob Marley vintage beach style long dress, green, yellow and red with stretch top and halterneck tie; Bob Marley extra large shawl/beach wrap/wall hanger; and Bob Marley 'Songs of Freedom' vest/tank top dark blue tie-dye large size, pit to pit 20", length 26.5". Please see images.
Lot 187
A bronze figure of a gentleman in 16th Century dress, raised on a circular socle, 13.5 cm high, together with a plated ladle, two further spoons and a brass candlestick CONDITION REPORTS Ladle with scratching and area of wear to underside of bowl conducive to age and use see images to age and use, spoon gilded though out and good embossing although with piece of lead to one end suggesting that it may have been adapted at some point see images
Lot 228
A yellow metal ring with later attached carved jade button, housed in a filigree mount, size N, jade button approx 2 cm, together with a yellow and white metal set dress ring with jade cabochon with engraved phoenix decoration, set with marcasite, size O, approx 2.4 cm, total weight approx 12.5 g
Lot 456
19TH CENTURY CONTINENTAL SCHOOL "Menu de l'Amore" scene depicting a maiden feeding cherubs, together with 19TH CENTURY CONTINENTAL SCHOOL "Berry Picking with Cherubs" scene depicting a maiden in a pink dress collecting berries with three cherubs, together with two 19th Century etchings and a painting of a child on a bridge, oil on milk glass
Lot 468
19TH CENTURY ENGLISH SCHOOL "Portrait of a Young Lady in Red Dress with Blue Shawl", oil on canvas, unsigned, approx 76 cm x 63 cm CONDITION REPORTS Thi slot is framed but in a later modern gilt frame with grey coloured slip. The piece has also been pre-lined and restored - see images for further detail
Lot 277
SHORTY LONG SOUL LABEL 45'S X 5. Excellent pack to include DJ promo of It's A Crying Shame c/w Out To Get You (S35005 - Ex+ - writing on label), DJ promo of Wind It Up c/w Devil With The Blue Dress (35001 - Ex), Function at The Junction c/w Call On Me x 2 (S35021 - Ex & Ex+ - label variations), Chantilly Lace c/w Your Love Is Amazing (S35031 - Ex+)
Lot 373
UK SOUL & BLUES MALE ARTISTS 7" RARITIES x 7. To include Sugar Pie Desanto - Soulful Dress on Pye (7N25249 -VG), Robert Knight - Free Me on London (HLD9496 - Ex+ archive), Lowell Fulsom x 2 - Talking Woman on Sue (WI4023 - Ex+) & Tramp on Fontana (TF795), Billy Stewart - Summertime on Chess (CRS8040 - VG+), Sam and Dave - No More Pain on King (KG1041 - Ex) and finally Muddy Waters EP (NEP44010 -
Lot 374
UK SOUL DEMOS - MALE ARTISTS X 7. To include Mattie Moultrie on CBS (202547 - Ex+ archive), Gladiators x 2 - Girl Don't Make Me Wait (3854 - Ex+) and Waiting on The Shores of Nowhere (4308 - Ex+ archive), Clyde McPhatter - Baby You've Got It on Deram (DM223 - Ex+ archive), Watts 103rd Street Rhythm Band (WB7250 - Ex+ archive), Jerryo - Karate-Boo-Ga-Loo on London (HLZ10162 - Ex+ archive) and stock copy of Sugar Pie Desanto - Soulful Dress (7N25249 - VG+). Note as per pictures that some have stickers on the labels.
Lot 2586
2nd millennium BC. A large bronze dress pin with biconical finial, the upper face of the finial with radiating leaf decoration, below two ribbed bands flanking a band of hatched lines; coiled for votive use. 128 grams, 16.9cm (6 3/4"). Property of a North London gentleman; formerly in a West German collection, Cologne. Very fine condition, cleaned and conserved.
Lot 264
19th-late 16th century BC. A carved black stone cylinder seal for Ur-egal, servant of (the god) Damu, accompanied by a scholarly note, which states: 'A hematite cylinder seal with a long bearded god in a flounced robe, wearing a bristle-like wig and facing left, holds a double lion-headed mace in his right hand, and rests his foot on a couchant snake-dragon (with horns, snake's body and neck, lion's forelegs and bird's hindlegs), called in Akkadian muš?uššu, 'furious snake'; he is approached by a robed king who holds a kid as an animal offering in both hands; his robe falls open and he wears a crested cap; the suppliant goddess Lama in a flounced robe, with necklace counterweight and with a multiple-horned head-dress, stands with both hands raised behind the worshipping king; between the god, identified as the warrior god Tišpak by the double lion-headed mace and the snake-dragon, and the king is a dog, a heavy mastiff, facing right, sitting on his haunches, supporting a crook, and wearing a heavy dog-collar, as the animal symbol of the healing goddess Gula. Inscription: 1UR-KÁ.GAL 2ÌR dDa-mu „Ur-kagal, servant of (the healing) god Damu.“ The Sumerian personal name UR-KÁ.GAL means „Dog (i.e. servant) at the great gate”.'; accompanied by a museum-quality impression. Cf. Collon, D., Catalogue of the Western Asiatic Seals in the British Museum. Cylinder Seals III. Isin-Larsa and Old Babylonian Periods, London, 1986, p.170-171, f.428-430; for the snake-dragon muš?uššu and the deities Lama, Tišpak, Gula and Damu s. Black,J.; Green, A., Gods, Demons and Symbols of Ancient Mesopotamia. An Illustrated Dictionary, London, 1992, s.v.11.6 grams, 23mm (1"). Property of a London gentleman; acquired London art market, 2000s; accompanied by a copy of a scholarly note, report number 157316.Very fine condition.
Lot 2753
8th-9th century AD. A bronze assemblage comprising Semigalian dress-pins with connecting chain; each pin with tapering shaft and crescentic terminal with knop finials, one with a ring-and-dot motif to one face, the other pin slightly larger. 135 grams, 88cm (34 1/2"). From an old British collection; acquired on the UK art market in the 1980s. Fine condition.
Lot 277
800-539 BC. A chalcedony(?) cylinder seal, accompanied by a scholarly note, which states: 'A winged bearded hero, facing left, with long neck hair, wearing a tall domed head-dress on a diadem, and an open, tiered and striped robe over a kilt, in the left hand holding a scimitar behind him, kicks his right leg on the head of a stag lying in front of him, whose left leg he pulls towards him at head level with his right hand. On the left, behind the stag, a large, upright lioness with a mouth open and her tail rolled up, lifting the right front paw behind her back to strike, tears the left leg of the stag with her left front paw. Behind the lioness a naked man with a flat round cap, facing right, holds up a branch or ear of wheat in his outstretched left hand and behind him a staff in his right. There is an eight-pointed star between the man and the lioness and this and the stag.'; accompanied by a museum-quality impression. Cf. Collon, D., Catalogue of the Western Asiatic Seals in the British Museum. Cylinder Seals V. Neo-Assyrian and Neo-Babylonian Periods, London, 2001, no.321, for another cylinder seal of this period with the very rare contest scene with stag.24.5 grams, 38mm (1 1/2"). Property of a London gentleman; acquired by his father in the 1970s; thence by descent; accompanied by a copy of a scholarly note, report number 151815.Very fine condition.
Lot 2770
12th-14th century AD. A bronze strap mount formed as a dished trefoil with strap attachment; frame formed as a set of three heart-shaped leaves with acorn-shaped collared knops on the outer edges and a medial line of notching; the fourth side formed as a curved upper edge and notched ridge below extending to a small buckle loop; four arms to the centre joining the leaves to a central raised knop; two slider-plates for attachment to a strap to the reverse. Cf. Egan, G. and Pritchard, F., Dress Accessories 1150-1450, London, 2002, fig.312-4. 8 grams, 38mm (1 1/2"). From an important London collection, inventory number 580. [No Reserve] Extremely fine condition.
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