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Lot 1179
Breville hot cup VKTIII, produces hot water for individual drinks, easy to vary the amount of water per cup; working at time of lotting.P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)Condition Report: All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order.
Lot 66
An Attic black-figure lekythos Attributed to the Phanyllis Group, circa 5th Century B.C.Depicting a central nude male facing right, holding a spear in his right hand, flanked on both sides by two draped male figures, all holding staffs and facing the central figure, the shoulder with a palmette above the nude figure, and two draped figures either side, details in added red, 21.5cm highFootnotes:Provenance:with L'Art Ancien, Montreal, April 1986.The central scene on this lekythos is a common motif known as the 'departing warrior'. Shown beardless and without armour, this vase depicts an ephebe, a young Greek who has just turned 18 and has officially become an adult and a citizen. He will serve as an ephebe for two years: the first will comprise his military training, the second will be spent protecting the frontiers of the Attic territory, before transitioning into a hoplite warrior at the age of 20. For an exploration of departure of warrior scenes as primary evidence for activities and attitudes of 5th Century Athens, see S.B. Matheson, 'Beardless, Armed, and Barefoot: Ephebes, Warriors, and Ritual on Athenian Vases', in D. Yatromanolakis (ed.), An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodology, Athens, 2009, p. 373-413.For further information on this lot please visit Bonhams.com
Lot 59
An Attic black-figure amphora (Type B) Attributed to Group E, circa 540 B.C.Side A with Herakles in combat with the Nemean lion, the hero depicted nude, Athena standing to the left wearing a high-crested helmet and a long peplos, holding a lance towards the hero, Iolaos standing to the right, wearing a Corinthian helmet and greaves, a long scythe in his hand, side B with a similar scene, with a band of linked lotus buds above each scene, a red band around the neck, another running beneath each scene and encircling the lower belly, a band of rays above the foot, details in added red, small holes on the neck for ancient repair, 42cm highFootnotes:Provenance:German art market.W. R. (1932-1991) collection, acquired in 1970s in Germany; and thence by inheritance to the H.-J. Gehrmann collection.with Galerie Günther Puhze, Freiburg (Kunst der Antike, Katalog 12, 1997, no. 182).Anonymous sale; Sotheby's, New York, 5 June 1999, lot 141.Anonymous sale; Sotheby's, New York, 14 June 2000, lot 54.Private collection, Switzerland, acquired at the above sale.Anonymous sale; Bonhams, London, 28 November 2017, lot 79.Private collection, USA.Beazley Archive no. 20477.Beazley identified the painters of Group E as 'a large and compact group which is very closely related to the work of the painter Exekias, though earlier...'E' alludes to the connection with Exekias; and group E is...the soil from which the art of Exekias springs' (J.D. Beazley in BSA, vol. 32, p. 3-4 as quoted in Attic Black-Figure Vase-Painters, New York, 1978, p. 133). Exekias, the 'flower' of Group E (ibid., p. 143), is the acknowledged master of the black-figure technique. The work of both Exekias and Group E is characterised by a preference for mythological subjects, a sense of monumentality, and the use of added red. Boardman notes that Beazley later came to think that most of the vases attributed to Group E are actually by one hand, and himself states 'the artist or artists deserve our attention and some respect, more than we may naturally accord an anonymous group, since their work leads not only to Exekias...but [also] more painters of the second half of the century follow the lead of this group and Exekias than of Lydos or the Amasis Painter' (J. Boardman, Athenian Black Figure Vases, London, 1974, p. 56-7).Slaying the Nemean lion was Herakles's first Labour. He was said to have stunned the beast with his famous club, before using his immense strength to strangle it. After vanquishing the lion, the hero tried to skin it with his knife, but failed. Eventually Athena, watching Herakles's plight, advised him to use one of the lion's own claws and the pelt was duly recovered. Herakles is often depicted wearing this lionskin, which is symbolic of his enormous strength and valour. Athena is shown as an onlooker on the present lot, along with Iolaos, Herakles's nephew and companion.Herakles' struggle with the Nemean lion was a favoured subject of Group E, though amphora with this scene on both sides are rare. For another Type B Group E amphora with Herakles, the Nemean lion, Athena and Iolaos on both sides, see Museo Gregoriano Etrusco Vaticano, Vatican City, no. 354, Beazley Archive no. 310379.For further information on this lot please visit Bonhams.com
Lot 11
A Roman amber glass date flask Circa 1st-early 2nd Century A.D.The body blown into a two-part mould to resemble the wrinkly skin of the fruit, with opaque white glass on the interior of the mouth, with short cylindrical neck and a partially flared rim, 6.5cm highFootnotes:Provenance:with Merrin Gallery, New York. Private collection, USA, acquired from the above 18 February 1992.It is suggested that such bottles may have held scented oils or medicines. Apicius II and Pliny mention the date fruit being used both in cooking and as a medicinal ingredient. Its form symbolises sweetness and these bottles may also have served as funerary offerings as they have been found in tombs of women and girls. For a full discussion on the technique, date, distribution, function and interpretation of date-flasks, see E. Marianne Stern, The Toledo Museum of Art, Roman Mold-blown Glass, the First through the Sixth Centuries, Toledo, 1995, pp. 91-4, 172-80, nos. 84-107.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1
An Eastern Mediterranean core-formed blue glass amphoriskos Hellenistic Period, circa 2nd-mid 1st Century B.C.The piriform body of dark blue glass, with applied opaque white and yellow marvered trailing, the combed festoons on the body between a spiral design on the base and neck, with applied blue twin handles and peg base, 14cm high; together with disc of blue glass with opaque white trail spiral, reputedly discovered together, 3cm diam. (2)Footnotes:Provenance:Private collection, London. with Antiquarium Ltd, New York, acquired from the above in 1998. Private collection, USA, acquired from the above in 1999.This amphoriskos conforms to Harden's Mediterranean Group 3, Form 7B: cf. D. B. Harden, Catalogue of Greek and Roman Glass in the British Museum, vol. I. Core- and Rod-formed Vessels and Pendants and Mycenaean Cast Objects, London 1981, pp. 122-3. For a similar amphoriskos from the Cesnola Collection see V. Karageorghis, Ancient Art from Cyprus. The Cesnola Collection in the Metropolitan Museum of Art, New York, 2000, p. 286, no. 467. Such late Hellenistic core-formed amphoriskae, typified by the use of translucent glass for the handles and knob base, are found throughout the Eastern Mediterranean region.Rather than a lid or bottle top, this glass disc may be a spindle whorl, as evinced by the glass extending slightly from the central hole, which indicates it was rod-formed. Whorls first appear in the Hellenistic Period and continue being used throughout the Roman period. The decoration on this example is unusual, as most are decorated with thin spiral trailing that is sometimes further combed into festoons. For a general discussion cf. M. Spear, Ancient Glass in the Israel Museum. Beads and Other Small Objects, Jerusalem, 2001, pp. 258-61, nos. 617-30.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 8
A Roman amber glass 'Victory' beaker Circa early-mid 1st Century A.D.Blown in a two-part mould, of cylindrical form with a narrow everted rim, with three registers of decoration divided by horizontal ribs, the upper and lower with six stylised victory wreaths, a pair of opposing palm branches concealing the vertical mould seams, the central register with Greek inscription: É…ABE THИ NEIKHN ('Seize the Victory'), the underside of the flat base with a single raised circle, 6.5cm high Footnotes:Provenance:Mr and Mrs A. Constable-Maxwell collection, UK. The Constable-Maxwell Collection of Ancient Glass; Sotheby Parke Bernet, London, 4-5 June 1979, lot 229.Important Ancient Glass from the Collection formed by the British Rail Pension Fund; Sotheby's, London, 24 November 1997, lot 15. Private collection, USA, acquired from the above sale. Published: S.B. Matheson, Ancient Glass in the Yale University Art Gallery, New Haven, 1980, p. 53-54. On Loan: The Victoria and Albert Museum, London, 1980-1985. The Corning Museum of Glass, Corning, NY, 1985-1995. This beaker is an important example of a group of mould-blown drinking cups which have been variously suggested as commemorative of drinking games, chariot races and gladiatorial contests; though the specifics remain debateable, the inscription of 'Seize the Victory' and the stylised wreaths confirms this cup was used for celebration of some sort of feat.These Victory beakers were first discussed and categorised by D. B. Harden in 'Romano-Syrian Glasses with Mould-Blown Inscriptions;, JRS, vol. 25, 1935, pp. 163-186. The Constable-Maxwell beaker falls into Harden's Group K (he lists 17 examples), sub-group 1 iii. A characteristic of this sub-group is the distinctive reversed N, and the extended E in NEIKHN. The reversed N is either the result of a mistake by the mould-maker while working in negative, or an intentional design. If the latter, it may be a maker's mark, the significance of which is now lost.There are at least four distinct types of these so-called 'Victory' beakers, some of which have been found along the Syro-Palestinian coast, Cyprus, Greece, Sardinia and Panticapaeum in the Crimea. They may have originated from workshops near Sidon, on the Phoenician coast.For related amber coloured examples of this type of inscribed drinking cup, see examples in the British Museum, London, acc. no. 1894,1101.108, J. Paul Getty Museum, LA, no. 2003.319 (formerly in the Oppenländer collection), the Hermitage Museum, St Petersburg (N. Kunina, Ancient Glass in the Hermitage Collection, St Petersburg, 1997, p.273, no. 113), the Toledo Museum of Art, OH, acc. nos. 1923.411-412 (E. Marianne Stern, The Toledo Museum of Art, Roman Mold-Blown Glass, Toledo, 1995, p.98-99), and the Israel Museum, Jerusalem, acc. no. 77.12.751. See also the example recorded in D. Whitehouse, Roman Glass in the Corning Museum of Glass, vol. 2, Corning, 2001, p. 26, no. 491, where he lists twenty known examples of Victory beakers with a one-line inscription.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 145
A Neolithic shell spirit mask amulet Israel, Pre-Pottery Neolithic B, circa 8000-6000 B.C.Shield-shaped, with drilled circular eyeholes, 6.3cm highFootnotes:Provenance:Formerly private collection, Israel. Exported from Israel under licence in 2020.This amulet brings to mind the Neolithic limestone masks discovered in the Judean desert, which comprise one of the earliest group of sculptures to survive from the region. These life-sized masks, and this amulet, are clearly fashioned to resemble human faces. The small scale of this piece, and the weight of the larger, limestone examples, suggest that these objects were not meant to be worn, but served a ritualistic purpose. It has been suggested that they were meant to invoke the spirits of deceased ancestors; if so, they mark one of the earliest attempts by the newly-evolving non-nomadic societies of the 7th Millennium B.C. to connect with the spiritual world.For more on the limestone masks discovered in the hills and deserts near Jerusalem, see the catalogue from the Israel Museum exhibition of 2014, which displayed a group of these masks together for the first time (D. Hershman, Face to Face: The Oldest Masks in the World, 2014). Two examples remain in the Israel Museum, acc. nos. 82.2.71 and 1984-407.For further information on this lot please visit Bonhams.com
Lot 60
An Attic black-figure Little Master lip-cup Circa mid 6th Century B.C.Decorated with a fine band of black around the lip and middle of the bowl, the lower section of the bowl, stemmed foot and handles black-glazed, the interior with central dot and circle, circumscribed with one thick and numerous slender linear bands, 8.5cm high, 17cm incl. handlesFootnotes:Provenance:Anonymous sale; Sotheby's, London, 14-15 December 1981, lot 252. Private collection, Switzerland.Cf. an example in the Metropolitan Museum of Art, New York, acc. no. 03.24.32; the present lot is a finer example of this type. The Little Masters specialised in a delicate, miniature style of vase-painting, and were active in Athens in the first half of the 6th Century B.C. The lip-cup was one of their favoured shapes.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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596772 item(s)/page