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Click here to subscribeHERMÈS Aschenbecher, akt. NP.: 645,-€. Modell aus Porzellan mit Basis aus Veloursziegenleder, Kerben und goldfarbenen Verzierungen, handgemaltes Fischnotiv in Türkis, Orange und Goldfarben. Sehr guter Zustand. | HERMÈS ashtray, retail price: 645,-€. Model made of porcelain with a base of suede kidskin, notches and gold-coloured decorations, hand-painted fish motif in turquoise, orange and gold colours. Very good condition.
Mappenwerke -- "erinnern 1945-1995"17 (von 20) Druckgraphiken sowie Titelblatt auf verschiedenen Papieren bzw. Karton. Lose in Orig.-Halbleinenmappe mit mont. Titel. 1995.84 x 60 cm. Die Graphiken alle signiert, teils datiert und betitelt, auf dem Titelblatt zudem von Klaus Staeck signiert. Auflage 35 num. Ex.Herausgegeben von der Edition Staeck, Heidelberg. Enthält die folgenden Arbeiten: Thomas Bayrle, Corporate Identity (Farboffset), Carlfriedrich Claus, Wechselwirkungen (Farboffset), Felix Droese, Entführung (Holzschnitt), Bogomir Ecker, o.T. (Offset übermalt mit Hammerschlaglack), Jochen Gerz, Ferienländer (Serigraphie in Gold und Offset), Günter Grass, Mein Onkel (Offset), Joachim Jansong, geboren 1941 (Serigraphie), Astrid Klein, historical correctness (Fotografie), Rune Mields, Befreiung (Serigraphie und Offset), Michael Morgner, Ecce Homo (Radierung und Prägedruck), Max Neumann, o.T. (Carborundum-Radierung), Olaf Nicolai, Muster (Farblithographie), Nam June Paik, Satelite Duo (Farboffset), Katharina Sieverding, Deutschland wird deutscher (Farbserigraphie), Klaus Staeck, Alarm (Serigraphie und Offset), Rosemarie Trockel, o.T. (Serigraphie) und Emilio Vedova, Oltre 88 (Serigraphie). Erschienen anlässlich des 30-jährigen Bestehens der Edition Staeck. "Die Grafikmappe 'erinnern 1945-1995' dokumentiert das Spektrum unserer editorischen Arbeit, die einerseits die Vielfalt der Handschriften und Stilmittel spiegelt und gleichzeitig für ein kritisches Engagement steht." (edition-staeck.de, Zugriff 23.01.23) - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Ca. 200-300 AD. A gold Legionary finger ring of a D-shaped hoop with a rounded exterior edge and a flat interior, which is set with the stunning intaglio. The goddess Victory is depicted facing left, standing tall and proud in her flowing robes. She holds a quiver with arrows to her left side, a symbol of her power and authority. In Roman mythology, Victory was known as the goddess of triumph and success. She was often depicted as a beautiful and powerful figure, with wings that symbolized her ability to move swiftly and decisively. Victory was associated with the concept of victory in war and competition, and was believed to be a powerful force that could bring success to those who called upon her. The carnelian intaglio that adorns this ring captures the essence of the goddess Victory, with its fine detail and expert craftsmanship. The deep red hue of the carnelian adds to the ring's elegance and sophistication, creating a striking contrast against the rich gold of the band. Size: D: 18.75mm / US: 8 3/4 / UK: R; 48.83g Provenance: Private London collection, UK art market before 2000.
Ca. 1800 AD. A gold ring of a thin hoop gradually expanding to form a bezel, which is set with a rectangular-shaped nicollo intaglio, carefully engraved with a right-facing portrait of Zeus. The intaglio captures the god's distinct features, such as his curly, abundant beard, curly hair, broad nose, and authoritative look, which all lend to his regal and powerful presence. Zeus, the king of the gods in Greek mythology, was often depicted as a symbol of authority and power, wielding the famous thunderbolt that he used to smite his enemies. As the god of sky, thunder, and lightning, he was revered for his ability to control the elements and was one of the most important gods in the Greek pantheon.Size: D: 16.92mm / US: 6 1/2 / UK: M 1/2; 4.05gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 19th century AD. With a characteristic form eared silver hilt decorated with repousse and engraving, recurved single-edged blade with gold inlay cartouches on either side featuring Arabic inscriptions. Condition: Very good, no scabbard. Size: L: 26 1/2 in., (67 cm); 635g Provenance: Property of a Central London Gallery, acquired on the US art market.
Ca. 400 -500 AD. A jasper intaglio engraved with a scene depicting two figures, facing each other and flanking a fire altar. They are making offerings and gestures of worship to the winged deity hovering above them. The eight-pointed star to the right adds to the intricate symbolism of the scene. The intaglio is set in a gold finger ring of a hexagonal profile, possibly of a later period. Sasanian intaglios were used as seals and jewelry and often depicted religious and mythological scenes, as well as portraits of the Sasanian kings and their courtiers.Size: D: 19.56mm / US: 9 3/4 / UK: T; 12.81gProvenance: Private London collection, UK art market before 2000.
Ca. 1100-1200 AD. A gold ring with stunning gemstone is a remarkable example of the exquisite craftsmanship and opulence of Seljuk gold jewellery. The flat-section hoop, with its gently expanded shoulders, boasts intricate incised decoration that showcases the skill of Seljuk artisans. The highlight of this ring is undoubtedly the gorgeous pink gemstone, which is set securely in the recess of the bezel by four prongs. The rich color of the gem complements the radiant glow of the gold and adds to the ring's allure. Seljuk gold jewellery was highly coveted during the medieval period and for good reason. The Seljuk Turks, who ruled over much of the Middle East and Central Asia from the 11th to the 13th century, were known for their love of luxury and their patronage of the arts. Seljuk goldsmiths created intricate and elaborate jewellery pieces using gold and other precious materials, often incorporating delicate filigree and granulation work. These pieces were adorned with precious and semi-precious gemstones, including rubies, emeralds, sapphires, and pearls, to create pieces of exceptional beauty and elegance.Size: D: 15.39mm / US: 5 / UK: J 1/2 ; 1.66gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 1100-1200 AD. A gold ring of tapering profile, crafted with the utmost skill and attention to detail. The ring's shoulders are richly adorned with chiselled arabesque patterns, testifying to the Seljuk dynasty's mastery of the decorative arts. The oval bezel of the ring is secured with multiple prongs, which serve to highlight and enhance the beauty of the central gem. This ring is a stunning example of Seljuk gold jewellery, which was prized for its exceptional quality and craftsmanship. During the Seljuk era, which spanned from the 11th to the 13th century, goldsmiths and jewellers created works of unparalleled beauty and sophistication. Seljuk jewellery was known for its intricate patterns, delicate filigree work, and use of precious gemstones. It was also prized for its symbolic significance, as jewellery was often used to convey messages of wealth, power, and status. For a similar, see Bonhams Islamic and Indian Art, London, 24 April 2012, Lot 69. Stone is replaced. Size: D: 16.51mm / US: 6 / UK: M; 2.32gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. 100-300 AD. A finely engraved intaglio set in a gold ring with widening shoulders. On the left side of the intaglio, we see a male figure standing with a relaxed posture and holding what appears to be a staff in his left hand. His right hand rests on his hip, suggesting a level of confidence and authority. Next to him, we see an animal, possibly a goat, leaning against a tree with delicately rendered branches and leaves. On the other side of the tree, we find a winged cupid leaning in its direction. The overall composition of the intaglio is both elegant and complex, with each element seemingly imbued with meaning. As for the meaning of this scene, it is difficult to say with certainty. The presence of the god-like figure, the animal, and the cupid all suggest a level of mythological or religious significance. Size: D: 18.75mm / US: 9 / UK: R 1/2; 14.65g Provenance: Private London collection, UK art market before 2000.
Ca. 900-1100 AD. A beautiful strap end of purest gold, with intricate details and masterful craftsmanship, fit for a chieftain's finest leather adornment. This equilateral triangle of shining gold boasts a raised edge and ropework border, while the interior is adorned with triangles of filigree, formed by the deft hand of a master goldsmith. The shorter edge of the triangle features three rivet holes, designed to secure the strap in place, while the reverse side remains flat and unworked. Such a piece was not only a functional accessory but also a symbol of status and wealth, reflecting the Viking's love of beauty and their dedication to the art of fine craftsmanship.Size: L:30.4mm / W:16.5mm ; 1.2gProvenance: Private London collection, UK art market before 2000.
Ca. 1350-1450 AD. An excellent forged-iron long sword with broad blade tapering to a sharp point. About a hands breadth below the cross guard is an inlaid emblem. It is composed of an oval or sub circular device enclosing a simple cross. A second cross, very simple in outline but without en enclosing oval is directly underneath this first one, slightly lower down the blade. The metal is yellow and so may be gold or a copper alloy. It is probably a maker's mark, the exact significance of which in unknown. The cross guard is of a simple rectangular, flat shape but curving downwards at each end. The hilt is short, one handed whilst the tang protrudes, decoratively through the top of the circular pommel with raised boss.The item comes with an academic report written by Russel Scott; famous lecturer, reenactor and expert of Viking and medieval artefacts. His report also includes an X-ray fluorescence analysis suggesting the ancient origin of the object. Size: L:942mm / W:160mm; 1.02kg Provenance: Private Leeds (UK) collection; acquired in the 1980s/90s.
Ca. late 19th century AD. A pair of gold earrings with graceful curves of the hooks and loops draw the eye down to the teardrop-shaped pendants, which are adorned with delicate openwork and filigree. The addition of the gold coins as pendeloques adds an extra layer of grandeur and prestige, with the tughras of Sultan Abdul Hamid II serving as a testament to the imperial splendor of the Ottoman Empire. Sultan Abdul Hamid II was the 34th Sultan of the Ottoman Empire, who ruled from 1876 until his deposition in 1909. He was known for his patronage of the arts and his love of luxury, which is reflected in the magnificent jewelry that was created during his reign. Size: L:76.0-77.3mm / W:18.8-18.8mm ; 27.5-27.8g Provenance: Private London collection, ex. French private collection acquired in the 1990s.
Ca. 4th century BC. A marvel of Hellenistic craftsmanship - a resplendent gold chain of exquisite beauty and refinement, adorned with the regal countenances of two mighty rams. It is comprised of a chain with a loop-in-loop design and the ram head finials, which mesmerize with their captivating details. Each finial boasts a unique attachment, with one featuring a hook and the other, a loop, which ingeniously fastens the necklace. Spherical garnet beads at the rear of each finial add a charming touch of elegance to the already graceful piece. The collar of the ram-head terminal bears intricate scrolls, a hallmark of Hellenistic decorative art, which gives way to the majestic creatures themselves. Rendered with painstaking care, the rams' snouts, nostrils, mouth, and eyes are imbued with a lifelike quality, while the skin on their cheekpieces is textured with a realistic touch. Their most impressive feature, however, is their majestic horns - curved and ribbed, a testament to the Hellenistic fascination with the power and grace of these noble creatures. As s symbol of virility and fertility, the ram was closely associated with the god Zeus, who was often depicted in ram form. It was also revered for its strength and tenacity, qualities that were highly prized in the martial world of ancient Greece. Size: L:440mm / W:17.1mm ; 12.2g Provenance: Property of a central London Gallery; formerly with a European collector, ex. Private Dutch collection; previously in English private collection, 1980.
Ca. 1700-1800 AD. A simple yet elegant posy ring of the annular band, flat on the interior and slightly rounded on the exterior, creating a comfortable fit for the wearer. The band is made of silver gilt, a thin layer of gold over a base metal, giving it a luxurious appearance. The interior of the band is inscribed. Posy rings were commonly exchanged as gifts between lovers, family members, and friends, and were often used as wedding rings. The inscriptions on the rings could range from simple phrases such as "Love Conquers All" to more elaborate poetry expressing deeper emotions. Posy rings were not only symbols of love and commitment, but also served as personal fashion statements. The rings were often engraved with ornate designs or set with precious stones, further emphasizing the wearer's social status and wealth.Size: D: 18.34mm / US: 8 1/4 / UK: Q; 6.08gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 4th century BC. An enchanting pair of gold earrings, a testament to the ingenuity and creativity of ancient goldsmiths. Each earring is a masterful work of art, with a delicate hook adorned by a tiny five-petaled flower and a recessed disc embellished with rosettes and intricate scrollwork. Two short chains, suspended from opposite sides of each earring, lead to a boat-shaped dangle, which is adorned with delicate filigree and crowned with the mesmerizing visages of sirens. These mythical creatures, half-bird, half-woman, were revered in Hellenistic culture for their enchanting voices and their ability to lure sailors to their doom. The filigree work that adorns the boat dangle is a stunning display of the ancient goldsmith's craft. Delicate flowers adorn the finials, while the central portion of the boat's upper edge is graced with the heads of sirens with a remarkable sense of realism. The bottom edge of the boat is adorned with intricate clusters of filigree, which shimmer in the light with an otherworldly beauty. In Greek mythology, sirens were often portrayed as dangerous creatures who lured sailors to their death with their beautiful songs. This made them a powerful symbol of temptation and danger, and their presence in Hellenistic art and literature served to caution against the allure of forbidden pleasures. Size: L:52.1mm / W:22.6mm ; 9g Provenance: Property of a central London Gallery; formerly with a European collector, ex. Private Dutch collection; previously in English private collection, 1980.
Ca. 200-300 AD. A gold finger ring with a carnelian portrait intaglio is a stunning example of the intricate artistry and skill of Roman gem engraving. The thin and delicate hoop of the ring beautifully complements the finely rendered left-facing portrait of a young male on the carnelian intaglio. The detailed depiction of the gentleman's facial features, including his small nose, and pointed chin. Roman portrait intaglios were highly valued as personal items, signifying the wealth and status of the owner. These gemstones were often used as signet rings, allowing the owner to leave an impression in sealing wax as a form of authentication. Portraits of individuals, gods, and goddesses were popular themes for intaglios during the Roman period. They were made from a variety of materials, including carnelian, amethyst, and jasper. Size: D: 19.15mm / US: 9 1/4 / UK: S; 1.73g Provenance: Private London collection, UK art market before 2000.
Ca. 19th century AD. A beautiful kard dagger crafted with a single-edged blade of exquisite watered steel, the blade tapers to a sharp point, perfectly suited to its intended purpose. The handle of the knife is no less impressive, with its robust construction and lavish ornamentation. Adorned with intricate gold koftgari decoration, the handle features delicate floral scrolls that add a touch of elegance to the knife's overall appearance. Koftgari, a technique originating from India, involves the inlaying of fine wires of gold, silver, or brass onto metal surfaces, creating a decorative effect that is both beautiful and durable. In this knife, the koftgari decoration is executed with exceptional skill and precision, a testament to the mastery of the Ottoman craftsmen who created it. Cf. Bonhams, Antique Arms and Armour, London, 25 July 2012, Lot 88.Size: L:345mm / W:25mm ; 425gProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.
Ca. 1700-1800 AD. A gold ring featuring a magnificent neoclassical intaglio of a Roman Emperor, possibly Pertinax, whose visage has been rendered with such precision that one can almost feel his commanding presence. His depiction is exquisitely rendered with fine facial details, an abundant beard, and a wreath atop his head, exuding an air of authority and wisdom. The ring's design is equally impressive, with a thin hoop that culminates in a Y-shaped support for the bezel, reminiscent of the neoclassical style of the late 18th and early 19th centuries. Pertinax, a man of great intellect and valor, was born into humble origins in the second century AD. Rising through the ranks of the Roman army, he eventually attained the coveted position of Praetorian Prefect, serving under Emperor Commodus. After Commodus was assassinated in 192 AD, Pertinax was proclaimed Emperor by the Praetorian Guard, and he assumed the mantle of leadership in a time of great turmoil. Alas, his reign was short-lived, as he was deposed and assassinated by the Praetorian Guard, who had grown disillusioned with his attempts to reform their corrupt practices. Nevertheless, his legacy endured, as a symbol of the ideals of good governance, justice, and righteousness.Size: D: 18.75mm / US: 8 3/4 / UK: R; 5.19gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 100-300 AD. A gold pendant with a conical-shaped dangle, delicately decorated with ropework and filigree bands, culminates in a round-bottomed carnelian gem with exquisite coloring, creating a stunning contrast against the golden metal. This simple yet elegant design exudes timeless beauty, reflecting the taste and refinement of Roman aristocrats. Roman jewelry often featured beads made of precious and semi-precious stones, like this carnelian gem. The Romans believed that carnelian had protective properties and could ward off evil spirits. They also valued the stone for its bright red-orange color, which was associated with power, wealth, and vitality. Carnelian was a popular choice for jewelry, both as a standalone gem and as a decorative accent in gold and silver settings. While this pendant does not depict a figure or symbol of particular significance, it exemplifies the Roman love for luxury and adornment. In a society where jewelry was an essential element of dress and social status, this piece would have undoubtedly been cherished and worn with pride. Size: L:25mm / W:8.9mm ; 3.3g Provenance: Private London collection, UK art market before 2000.
Ca. 100 BC - 100 AD - Late Republican. A gold finger ring, Hening type I, of unparalleled beauty and sophistication. Its round hoop expands to form a large bezel, which holds a stunning onyx intaglio that has been expertly engraved with the depiction of the goddess Diana. Her majestic figure is portrayed standing next to a pole-like structure, on a baseline that anchors her to the earth. In her left hand, she holds an arrow, while her right hand clasps a bow. The goddess Diana, known as the virgin goddess of the hunt and the moon, was revered in ancient Rome as a symbol of strength, independence, and purity. She was believed to roam the forests and wilderness, accompanied by her band of loyal nymphs and hunting dogs. Her skill as an archer was legendary, and she was often depicted in art and literature as a fierce and formidable warrior. In this exquisite ring, Diana is portrayed with grace and beauty, her long flowing garment draped over her body in a way that accentuates her feminine form. Her finely detailed head is turned to the right, her lovely coiffure framing her face in a way that highlights her ethereal beauty. The intaglio, expertly carved by a skilled craftsman, captures her essence in a way that is both lifelike and otherworldly. This gold ring is not only a testament to the skill of its creator but also a reflection of the values and beliefs of the ancient Romans. Its depiction of the goddess Diana speaks to their reverence for the power and majesty of nature and their admiration for the strength and independence of women. Size: D: 16.31mm / US: 5 3/4 / UK: L; 5.79g Provenance: Private London collection, UK art market before 2000.
Ca. 300 - 400 AD. A gold ring composed of a thin hoop with pairs of spheres to the bezel, boasting an intaglio that depicts the god Mars seated on the back of a majestic eagle. In Roman mythology, Mars was the god of war and one of the most important deities in the pantheon. He was the son of Jupiter and Juno and was often depicted as a warrior with a spear and shield. His association with the eagle, a powerful and noble bird, was likely inspired by the Roman army's use of eagles as emblems of their legions. Roman intaglios depicting gods and goddesses were popular adornments for rings, often worn as symbols of protection and guidance. These intaglios served not only as decorative pieces but also as powerful amulets that could bring the wearer good fortune and protection from harm. The intricate designs and rare subjects of these intaglios make them highly sought after by collectors and historians alike, offering a glimpse into the rich and complex world of ancient Roman mythology and belief systems.Size: D: 17.53mm / US: 7 / UK: O; 3.64gProvenance: Private London collection, UK art market before 2000.
Ring - ca. 600-700 AD; Stone - ca. 200 AD. A gold ring of a flat-section hoop, with its grooves and edges adding texture and dimension to the piece. The raised bezel is set with a garnet intaglio that depicts a left-facing dog in fine detail, his body and legs rendered with delicate precision. His head is turned to the side, revealing his sharp features and keen gaze. Roman intaglios with animals were highly prized during ancient times, as they served as symbols of power, status, and protection. Dogs, in particular, were revered for their loyalty and fierce protective instincts, making them popular subjects for intaglios. These intaglios were often set in rings, which served not only as decorative jewelry but also as functional objects that could be used to seal documents and letters, signifying the importance of the wearer's identity and status.Size: D: 15.49mm / US: 4 3/4 / UK: J; 3.77gProvenance: Private London collection, UK art market before 2000.
Ca. 100-300 AD. A gold finger ring composed of a tapering hoop with faceted shoulders supporting an amethyst intaglio engraved with a dynamic scene of a man riding a donkey. The ancient Romans considered jewellery to be an essential dressing accessory, for it provided a public display of their wealth. Roman jewellery first followed fashion set by the Etruscans, using gold and glass beads, but as the Roman empire spread and became more prosperous, so did its jewellery designs become increasingly elaborate. The behavior of wearing rings was popular amongst the Romans and was likely introduced by the Sabines, who in early legends, as wearing gold rings with precious gemstones.Size: D: 18.14mm / US: 8 / UK: P 1/2; 10.32gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in before 2000 on the UK art market.
Ca. 1800 AD. A gold ring of a wide hoop, with its ornate detailing, speaks of the elegant craftsmanship of the era, while the large rectangular bezel allows for the striking intaglio to take center stage. The intaglio depicts a gryllos, a grotesque creature from ancient Greek and Roman art. In this particular intaglio, we see a right-facing youthful face with wavy, flouncing hair and another face on top of the head. The gryllos was a popular motif in ancient art and was often used as a decorative element in architecture, pottery, and jewelry. It was believed to be a symbol of good luck and protection from evil spirits. The depiction of grylloi in ancient art varied widely, from fantastical creatures to more human-like figures, and they were often used in a decorative context. In this neoclassical ring, the gryllos motif has been beautifully adapted to fit the more refined and elegant aesthetic of the era.Size: D: 18.54mm / US: 8 1/2 / UK: Q 1/2; 8.55gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 2nd century AD. A pair of matched earrings made of gold. Each earring boasts a hoop, attached to a four-compartmented plaque adorned with an elaborately ornamented border of ropework, and inset with sparkling blue gems. Below these settings, are trefoil repousse designs on the attached plaques, intricately fashioned with the utmost skill and attention to detail. The cylindrical pillars are culminating in a cluster of filigree and are densely covered with beading, adding a touch of opulence and splendor to the already breathtaking design.Size: L:66.2mm / W:13.3mm ; 10.24gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. 100 AD. A pyxis that exudes an aura of refinement and luxury. Designed to safeguard precious essences and ointments, this cylindrical container boasts an exquisite form, crafted with meticulous attention to detail. Its silhouette is striking, with a bone edge and lid that commands attention, while the central suspension loop draws the eye with its elaborate beaded pattern. The tightly braided chain connects the central loop to two lateral small loops on the main body adorned with repousse swastika and geometric patterns. Each symbol, carefully rendered, tells a story of ancient wisdom and mysticism. The swastika, an ancient symbol of good fortune, and the geometric patterns, with their mesmerizing repetition, evoke a sense of order and harmony. In the Roman world, pyxides were not only functional containers but also objects of beauty and status. As such, they were often made from precious materials, such as gold, and silver, and adorned with intricate designs. Their use was not limited to the storage of expensive substances, but they were also given as gifts, sometimes containing a precious object as a surprise. They were also used as votive offerings, and donated to temples as a symbol of piety and devotion. Size: L:26.3mm / W:23.3mm ; 16g Provenance: Property of a Central London gallery; acquired from an old British (London) collection.
Ca. 7th-6th century BC. A gold ring made of gleaming gold, expertly crafted into a D-shaped shank that fits snugly and comfortably around the finger. At the center of the ring sits a beautifully carved rock crystal scaraboid, which is mounted on a swivel mechanism that allows it to rotate within its setting. Size: D: 16.71mm / US: 6 1/2 / UK: M ; 5.7g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 100-200 AD. A nice pair of matched earrings crafted from gold, each earring features a round-section hoop with a cube finial. The cube is incised with central recesses, possibly for inlays, adding a sense of depth and texture to the design. The hoops are expertly shaped and polished to create a smooth and flawless finish, with an eye and hook closure that ensures a secure fit to the earlobe. These gold earrings are a stunning example of ancient Roman jewelry, showcasing the beauty and sophistication of their design. Size: L:24.1-25.0mm / W:10.2-9.4mm ; 1.40-1.43g Provenance: Private London collection, UK art market before 2000.
Ca. 2nd century AD. A matched pair of gold earrings. These earrings are a breathtaking sight, with each hoop meticulously attached to a drop-shaped plaque, embellished with an elaborately ornamented border of filigree. The center of each drop is set with a precious red gem that glistens with every movement. As your eyes travel down the earrings, you will marvel at the columns that are densely covered with beading, each meticulously crafted to create an intricate and mesmerizing design. The columns culminate in a cluster of filigree. Below the drop plaque, attached plaques with a trefoil repousse design add an extra layer of sophistication to these already enchanting earrings.Size: L:65.4mm / W:22.6mm ; 9.2gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. 2nd century AD. A pair of matched earrings, cast in gold. Each earring comprises a delicately crafted hoop that gracefully dangles from the ear, adorned with a magnificent flower-shaped plaque. The flower is an intricate amalgamation of seven sinuous petals, delicately shaped out of scrolls, evoking a sense of fluidity and grace. The centre of each flower is set with a bewitching drop-shaped blue gem insert, which adds a captivating and mesmerizing aura to the entire piece. Beneath the flower lies a column densely covered with fine beading, that culminates in a cluster of filigree. Small rhomboid plaques with rosettes are attached below the flower of scrolls, adding a refined and polished touch to the entire piece.Size: L:65.6mm / W:13.4mm ; 10.2gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. 1st century BC - 1st century AD. A silver ring fashioned into the form of a coiled serpent, the ring is crafted from a single piece of gleaming silver wire, skillfully tapered from its narrowest point at the tail to its broad and flat head with recessed eyes. The serpent's scales are intricately engraved, with delicate attention to detail, on the upper portion of the ring, creating a lifelike texture that shimmers in the light. The interior of the ring has been carefully smoothed and worked for maximum comfort during wear, ensuring that the wearer can appreciate the beauty of the ring without discomfort. Snake rings have a long history in Roman culture, with serpents being a common motif in Roman jewelry. Snakes were often associated with regeneration and renewal and were seen as symbols of power, wisdom, and protection. Beyond their aesthetic appeal, Roman snake rings were also believed to have protective and magical properties. It was believed that the serpents coiled around the finger would act as guardians against evil spirits and bad luck, making these rings not just beautiful adornments, but also powerful talismans. For a similar, but in gold see The British Museum, Registration number 1917,0501.950. Size: D: 17.12mm / US: 6 3/4 / UK: N; 6.48g Provenance: Private London collection, UK art market before 2000.
Ca. 100-300 AD. A charming matched pair of gold earrings with carnelian beads. At the heart of these earrings lies a round hoop, elegantly tapered at the finials. The hoops are fashioned from the finest gold, reflecting the luxury and opulence of the Roman Empire. The gold is expertly polished to a lustrous shine, highlighting the preciousness of the metal. The focal point of each earring is a biconical carnelian bead, suspended from the hoop in a delicate filigree setting. The warm, reddish-orange hues of the carnelian add a touch of vibrancy to the earrings. At the bottom of each earring, clusters of filigree add a further dimension to the design. These clusters consist of small filigree beads, creating a sense of movement and fluidity. Size: L:29.6-32,2mm / W:16.2-16.3mm ; 3.53-4.08g Provenance: Private London collection, UK art market before 2000.
Ca. 100-300 AD. An amethyst intaglio depicting a hedgehog, a creature that has long fascinated humans with its spiny exterior and unique appearance. The engraving is rendered in fine detail, capturing the essence of the animal's body, including its spikes, pointed face, and short legs. The heavy gold ring that holds the intaglio is a work of art in its own right. The round hoop and raised cell for the gem are expertly crafted, with a sense of heft and durability that speaks to the value of the piece. Intaglios with animal depictions were highly popular in ancient Rome, as they were seen as a way to capture the power and beauty of the natural world. From lions and tigers to birds and insects, the Romans were fascinated by the diversity of life on earth and sought to capture its essence in their art. Animal intaglios were often worn as a symbol of strength, courage, and power, reflecting the values and beliefs of Roman society.Size: D: 19.15mm / US: 9 1/4 / UK: S; 12.92gProvenance: Private London collection, UK art market before 2000.
Ca. 100-300 AD. A carnelian intaglio set in a possibly later gold ring capturing a poignant scene of mourning, likely depicting Aristomenes, sitting on a pile of rocks and beneath a tree. In Greek mythology, he was a Messenian warrior who fought against the Spartans in the 8th century BC. It is possible that the mourning depicted in the intaglio relates to his eventual defeat at the hands of the Spartans, which would have been a significant event in Greek history. Alternatively, it is possible that the mourning depicted in the intaglio has a more symbolic or allegorical meaning, rather than a literal one. For example, the winged figure in front of Aristomenes could be interpreted as a representation of death or the afterlife, suggesting that the scene is a contemplation of mortality and the impermanence of life. The finely engraved details of the figures and the setting provide a glimpse into the artist's skill and the emotional depth of the scene. Size: D: 19.35mm / US: 9 1/2 / UK: S 1/2; 4.95g Provenance: Private London collection, UK art market before 2000.
Ca. 12th century AD. A large ewer, crafted with remarkable skill and precision. Its cylindrical body is adorned with intricate ribbing, standing on a flared concave foot, adding a majestic aura to its presence. Rising from a flat shoulder is a tall neck, boasting a prominent spout with a zoomorphic beast carved within. On both sides of the neck, relief lions stand in elegant repose, lending an air of regality to the vessel. To the rear, an arched handle connects the neck to the body. Nearly the entire surface of this magnificent ewer is engraved with intricate patterns, interlacing and flowing with the grace of a calligrapher's pen. Each detail is imbued with meaning and significance, from the choice of patterns to the carefully rendered calligraphy. The Islamic world was renowned for its mastery of metalwork, from bronze and brass to silver and gold. The art of the metalworker was highly valued, and their creations were coveted by rulers and elites alike. Islamic metalwork is distinguished by its intricate patterns, calligraphy, and symbolic motifs, which speak to the richness of Islamic culture and the artistry of its people. Cf. Georgian National Museum, S. Janashia Museum of Georgia (135)Size: L:390mm / W:210mm ; 1.4kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.
Ca. 1400 - 1500 AD. A gold finger ring featuring a rectangular-section hoop of massive, octagonal form that immediately captures the eye with its intricate design. Each of the eight flat faces of the hoop has been carefully engraved with the haloed head of Christ or a Saint holding the Gospels within a rectangular border. The intricate details of these engravings are a testament to the skill and precision of the medieval goldsmiths who crafted this remarkable piece. The use of gold in this ring further enhances its preciousness, symbolizing wealth and power, and reflecting the status of the wearer. In medieval times, jewelry was often used to convey social and religious messages, and this ring is no exception. The iconography of the ring, depicting the heads of Christ and Saints holding the Gospels, serves as a powerful reminder of the importance of religion in medieval society. It is a testament to the deep devotion and faith of the wearer, as well as their desire to display their religious affiliation and beliefs. The detailed report from Striptwist Ltd will accompany the item. Size: D: 17.12mm / US: 6 3/4 / UK: N ; 18.89g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Ca. 600-800 AD. A gold ring, adorned with a captivating peacock intaglio. The ring's design showcases the intricate filigree work that is characteristic of Byzantine jewelry, with a thin hoop featuring a beaded exterior that provides a tactile and visually pleasing effect. The hoop joins the large bezel cell, which is itself a work of art, featuring filigree decoration that adds depth and texture to the piece. Within the bezel cell sits a mesmerizing carnelian intaglio, engraved with the image of a left-facing peacock standing on top of beautiful branches or tendrils with flowers and leaves. The peacock, a symbol of beauty and regal splendor, was a popular motif in Byzantine art. Its elaborate plumage and graceful stance are captured with impressive detail in this intaglio, creating a striking and memorable image. Byzantine gold jewelry is renowned for its intricate designs, masterful use of filigree, and rich symbolism. Gold was a popular choice for Byzantine jewelry as it symbolized wealth, status, and divine radiance. Byzantine craftsmen often incorporated religious iconographies, such as crosses and saints, into their designs, as well as classical motifs such as vines, leaves, and animals.Size: D: 15.39mm / US: 4 1/2 / UK: I 1/2 ; 6.71gProvenance: Private London collection, UK art market before 2000.
Ca. 800 AD. A gold cruciform pendant in the form of a Latin cross, which is one of the most recognizable symbols of Christianity. Each arm of the cross is adorned with a twisted ropework effect and filled with diagonal arrangements of similar decoration, creating a secondary cross within a cross. At the center, there is a gold cell containing a stunning cabochon. The beauty of the cabochon lies in its smooth, polished surface and the way it reflects light, showcasing its deep, rich color. The significance of Byzantine cross pendants is rooted in their religious and cultural importance. The Latin cross, which this pendant takes the form of, is a symbol of the sacrifice of Christ and a symbol of salvation for Christians. During the Byzantine era, such pendants were worn not only as a form of religious expression but also as a symbol of status and wealth. They were often given as gifts to high-ranking officials or members of the clergy, and their intricate designs and precious materials showcased the wearer's wealth and sophistication.Size: L:34.8mm / W:21.6mm ; 4.2gProvenance: Private London collection, UK art market before 2000.
Julius II Adam 1852 München - 1913 München Spielende Katzenfamilie im Wald. Um 1860/70. Öl auf Leinwand. Rechts oben signiert. 27,5 x 40 cm (10,8 x 15,7 in). PROVENIENZ: Privatsammlung Bayern. Julius II Anton Adam wird als Sohn des Lithografen und Fotografen Julius (I) Adam und als Enkel des Pferdemalers Albrecht Adam in München in eine bereits hoch angesehene Künstlerfamilie geboren. Bis 1882 widmet sich Adam hauptsächlich der Genremalerei und setzt sich damit anfänglich bewusst von den Tierdarstellungen ab, die in der Malerfamilie Adam vorherrschen. Mitte der 1880er Jahre findet ein Katzenbild von ihm jedoch so großen Anklang im Münchner Kunstverein, dass er sich fortan fast ausschließlich der Katzenmalerei widmet. In feinmalerisch präziser Technik verbindet er die genauen Licht- und Farbbeobachtungen des weichen Fells mit der genauen Beobachtung ihrer Bewegungen. So wird der Künstler bei seinen Zeitgenossen als 'Katzenraffael' oder 'Katzenadam' bekannt. Im Werben um Aufmerksamkeit und Käuferschaft ist dies nicht zuletzt als Strategie zu verstehen, das eigene Schaffen unverwechselbar zu etablieren. Mehrere seiner Bilder werden auf der Internationalen Kunstausstellung München mit der Goldenen Medaille ausgezeichnet, wodurch er nicht zuletzt unter den Münchner Tiermalern der Gründerzeit eine bedeutende Stellung einnimmt. [KT] Aufrufzeit: 10.06.2023 - ca. 18.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJulius II Adam 1852 München - 1913 München Spielende Katzenfamilie im Wald. Um 1860/70. Oil on canvas. Signed in upper right. 27.5 x 40 cm (10.8 x 15.7 in). PROVENANCE: Private collection Bavaria. Julius II Anton Adam was born into a highly respected family of artists in Munich, the son of the lithographer and photographer Julius (I) Adam and the grandson of the horse painter Albrecht Adam. Until 1882, Adam devoted himself mainly to genre painting and made works that were clearly distinguishable from the animal depictions typical of the Adams family. In the mid-1880s, however, a cat picture he had made was so well received at the Munich Kunstverein, that he decided to paint nothing but cats from then on. Using a precise, fine-painting technique, he combined light and color observations of the soft fur with exact observations of their movements. Eventually, the artist became known as 'Cat Raphael' or 'Cat Adam'. In trying to get the attention of buyers, establishing an unmistakable brand nothing less than a necessary marketing strategy. Several of his paintings were awarded the gold medal at the International Art Exhibition in Munich, which earned him an important position among the Munich animal painters of the Wilhelminian period. [KT] Called up: June 10, 2023 - ca. 18.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Christian Landenberger 1862 Ebingen - 1927 Stuttgart Badende Knaben. 1915. Öl auf Leinwand. Links unten signiert und datiert. 56 x 77 cm (22 x 30,3 in). Wir danken Herrn Dr. Heinz Höfchen für die freundliche wissenschaftliche Beratung. Das Werk ist im Nachtrag des Werkverzeichnisses registriert. PROVENIENZ: Privatsammlung Baden-Württemberg. Christian Landenberger zählt zu den Malern, die sich in Deutschland schon früh mit der Freilichtmalerei impressionistischer Prägung beschäftigen. Von 1883 bis 1885 studiert er an der Münchner Kunstakademie, wendet sich allerdings kurz darauf zu einem unakademisch geprägten, unmittelbaren Zugang zur Malerei hin, bei der neue Entwicklungen vor allem in der Landschaft entstehen. Schließlich ist er 1892 Gründungsmitglied der Münchner Secession, bei deren Ausstellungen er bis 1916 regelmäßig präsent ist. Ein Motiv des Impressionismus, mit dem er sich ab 1893 immer wieder neu auseinandersetzt, sind die badenden Knaben. Sommerliche Malaufenthalte hatten ihn wiederholt an den Bodensee und den Ammersee geführt, wo die Umgebung ihm die perfekten Bedingungen für die Umsetzung von Lichteffekten, atmosphärischen Stimmungen und gelöster Einheit von Mensch und Natur in seinen Werken darbietet. Hinzu kommt die Beobachtung der natürlichen Bewegungen und Körperhaltungen der Kinder ohne jegliche Gekünsteltheit. Besonders die Wasseroberfläche ermöglicht einen irisierenden, von der Lokalfarbe abgelösten Einsatz der Farbe, deren Auftrag ganz in lockerem und spontanem Duktus erfolgt. Für eines dieser Motive, 'Sommerabend am See' von 1904 (Neue Pinakothek, München) erhält er auf der X. Internationalen Kunstausstellung im Glaspalast München die Goldmedaille. Die 'Badenden Knaben', ein Motiv, dem sich nicht zuletzt auch Max Liebermann ab den späten 1890er Jahren in über 30 Versionen mit großem Erfolg widmete, gehört so zu den zentralen Themen des deutschen Impressionismus, ist somit für Landenbergers Schaffen von zentraler Bedeutung. [KT] Aufrufzeit: 10.06.2023 - ca. 18.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONChristian Landenberger 1862 Ebingen - 1927 Stuttgart Badende Knaben. 1915. Oil on canvas. Lower left signed and dated. 56 x 77 cm (22 x 30.3 in). We are grateful to Dr. Heinz Höfchen for his kind expert advice. The work is mentioned in the addenda of the catlogue raisonné. PROVENANCE: Private collection Baden-Württemberg. Christian Landenberger is one of the painters in Germany who dealt with plein-air painting in impressionist manner from early on. From 1883 to 1885, he studied at the Munich Art Academy, but shortly thereafter turned to an unacademic, direct approach to painting, from which new developments emerged, especially in the landscape genre. In 1892, he was a founding member of the Munich Secession, and regularly showed works in the exhibitions until 1916. One motif of Impressionism, which he repeatedly dealt with from 1893, are the bathing boys. Summer painting stays had repeatedly taken him to Lake Constance and Ammersee, where the surroundings offered him the perfect conditions for the implementation of light effects, atmospheric moods and the relaxed unity of man and nature, as well as the observation of the children's natural movements and postures without any artificiality. The surface of the water in particular allows for an iridescent use of color that is detached from the local color and is applied in a very relaxed and spontaneous style. For one of these motifs, 'Sommerabend am See' (Summer Evening by the Lake, Neue Pinakothek, Munich) from 1904, he received the gold medal at the 10th International Art Exhibition in the Glass Palace in Munich. The 'Badenden Knaben', a motif to which Max Liebermann devoted himself in more than 30 versions from the late 1890s with great success, is one of the central themes of German Impressionism and is therefore of central importance for Landenberger's work. [KT] Called up: June 10, 2023 - ca. 18.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
OMEGA Chronometer Constellation 14k Gold Plated Day Date Automatic Wristwatch C1968 Omega Chronometer Constellation Officially Certified automatic wristwatch with day date. Lacking gold Omega cap from stainless steel case back. Leather non branded strap. Currently not working at the auction.
2002 World Cup winner's gold medal FIFA WORLD CUP, obverse with the Jules Rimet trophy in relief, inscribed reverse inscribed 2002 FIFA WORLD CUP KOREA JAPAN, stamped 585 G.O.E. BERTONI ITALY with blue, gold and red ribbon, with original blue velvet case 50mm in Width 50g total weight. 30th June 2002 Germany 0 - 2 Brazil with Ronaldo winning the Golden Boot to complete the World Cup
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