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Lot 321
A French Empire mantel clock, the 10 cm diameter dial signed LS. Mallet and H. DE M. D. D'ORLEANS, N 794, with Roman numeral, fitted an eight day movement striking on a bell, in an ormolu case, the base surmounted a female figure holding a mask and playing a tambourine, the clock surmounted a winged helmet and musical instruments, the base decorated a facemask and foliage on a plinth, 31 cm wide See illustration Condition report Report by GHSome damage to the enamel around the right hand winder. Enamel also scratched across the middle and with a small hairline crack to the top left. Otherwise case generally a little grubby but in good condition.Movement untested but appears to be in good, clean condition and appears complete. No key. Measurement across the dial including the bezel is 13 cm.
Lot 413
A German steel helmet, with camouflage painted decoration (lacks chin strap) Condition report ReportPlease note that owing to the large number of reproduction Third Reich and Imperial German items on the market, we can give no guarantee as to the authenticity of any such items. Prospective purchasers must satisfy themselves in this regard before bidding. We WILL NOT accept any returns on these items.
Lot 411
A German helmet, black painted, with side decals, lacks chin strap Condition report Please note that owing to the large number of reproduction Third Reich and Imperial German items on the market, we can give no guarantee as to the authenticity of any such items. Prospective purchasers must satisfy themselves in this regard before bidding. We WILL NOT accept any returns on these items.poor condition
Lot 42
Ancient Rome, ca. 2nd to 4th century CE. A solid 14 karat gold ring comprised of a smooth rounded shaft that widens to contain a bezel surrounding an oval garnet intaglio. The garnet intaglio is elegantly engraved with a profile image of Minerva, the Roman goddess of wisdom, war, art, and commerce. Here the artisan depicted Minerva in her warrior guise, donning a crested helmet. Size 5.25" W (13.3 cm); size of intaglio: .875" W x .875" H (2.2 cm x 2.2 cm); total weight: 2.6 grams Provenance: Ex-private east coast, USA collection Condition: Minor dents and scratches to the shank. Intaglio is intact and excellent. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119168
Lot 119c
Pre-Columbian, West Mexico, Nayarit, Ixtlan del Rio, ca. 300 BCE to 300 CE. This is a beautiful, large example of one of the expressive shaft tomb hollow pottery figures that were placed around the perimeter of graves sunk several feet below households. Size: 10.5" W x 23.25" H (26.7 cm x 59.1 cm)Depicted is a male warrior, holding a club in front with both hands. His upper body is protected by a barrel-shaped armour, which is decorated with incised lines in an intricate geometric pattern. The same pattern is visible on his double-crested helmet. Around his neck is a double stranded necklace and he wears large earrings. He stands at the ready. Clay figures like this one are the only remains that we have today of a sophisticated and unique culture in West Mexico -- they made no above-ground monuments or sculptures, at least that we know of, which is in strong contrast to developments elsewhere in ancient Mesoamerica. Instead, their tombs were their lasting works of art: skeletons arrayed radially with their feet positioned inward, and clay offerings, like this one, placed alongside the walls facing inward, near the skulls. A large effigy like this one would most likely have flanked the entrance to a tomb in a way that archaeologists have interpreted as guarding. Some scholars have connected these dynamic sculptures of the living as a strong contrast to the skeletal remains whose space they shared, as if they mediated between the living and the dead. Provenance: Ex-Private New York Collection Condition: Both arms and neck have been repaired; loss to one half of crest at top of head. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119541
Lot 232A
France, Second Empire, 1852 to 1871 CE. A striking brass dragoon helmet with a long, flowing horsehair tail and a leather handle overlaid with brass petals. This helmet belonged to a member of an artillery horse regiment, perhaps part of the Imperial Guard of Napoleon III. Atop the helmet is a crest with a face; below that on the front of the helmet are crossed cannons. A band with a leaf design runs below this around the body of the helmet, just above the visor. A large, round hinge connects the strap. Size: 10.35" L x 6.35" W x 10.25" H (26.3 cm x 16.1 cm x 26 cm)The dragoon-style helmet was introduced in 1762 by the French Army, replacing the tricorn hat for their dragoon cavalry regiments. These crested helmets were based on those of the Classical World, then very much in vogue. By the early 19th century, Austrian, the British, the Prussians and even the Canadians had chosen to emulate the design. Helmets like this were last used in World War I, although then they wore drab helmet covers to provide camouflage. Provenance: Ex-Schuetz Collection, Florida Condition: Parts all original, with some wear /scratching to surface of helmet as shown and some areas where it has been slightly misshapen. Leather strap is intact. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119255
Lot 147
Pre-Columbian, West Mexico, Nayarit, ca. 200 BCE to 250 CE. A male warrior redware pottery figure, seated on a two-legged stool and donning a traditional double-horned helmet incised with an intricate geometric pattern and barrel shaped armor incised with that same pattern, holding a large club with both hands across his chest. The figure's characteristically elongated and full-cheeked visage is detailed with slit eyes, a protruding straight nose with an exaggerated septum, half open slit mouth, and ears fitted with tripartite ear ornaments. A striking pottery figure from the ancient Nayarit culture of West Mexico. Size: 7.25" L x 6.5" W x 11.75" H (18.4 cm x 16.5 cm x 29.8 cm) Provenance: Ex-W.S. collection, Los Angeles, CA Condition: Head reattached, hands/weapon reattached, right leg reattached, and tip of one 'horn' on helmet missing. Nevertheless all there and shows well. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #116260
Lot 186
Pre-Columbian, northern Peru, late Moche, ca 800 CE. Truly larger than any Moche portrait head we have ever had the honor of handling, a superb and enormous bichrome portrait head presenting an expressive visage comprised of wide open, inset eyes, a pronounced, curved nose with openwork nostrils, a well-defined, protruding mouth with each tooth individually delineated, and carefully modeled facial planes and contours - even the philtrum (vertical groove running from nasal septum to upper lip) is defined. Moche effigy pottery was usually created with moulds; however, each piece was individually and uniquely refined with hand tools and decorated using slips of red, cream, and brown hues. Given his elaborate phenotype with facial tattoos/paint, huge earspools, and an impressive helmet/headdress adorned with a rich variety of stylized geometric motifs, all hand-painted in red on a cream ground, the subject portrayed here was most likely a revered warrior or leader. Perhaps the best known Moche vessels are veristic portrait stirrup-spouted jars, and scholars believe the Moche to be perhaps the only ancient culture in the Americas that produced such vessels. The Moche depicted real people, and furthermore, it has been possible to follow the progression of age and rank of several renowned individuals portrayed at different times of their lives in pottery. One particular face, easily identified because of his cut lip, appears in more than forty Moche pottery vessels. What is remarkable about this piece, however, is that it is not a vessel, but rather a sculptural portrait head with a closed bottom, most likely intended to stand on its own as a monument to the deceased. A jaw-dropping example that has been deemed ancient via thermoluminescence testing. Size: 12.5" L x 15" W x 13.75" H (31.8 cm x 38.1 cm x 34.9 cm) Provenance: Ex-Private Spanish collection acquired in the 1980's; comes with TL report from QED Laboratoire, Aix-en-Provence Condition: Repaired from four to six large pieces. Surface wear with abrasions and chips as shown. Nice manganese deposits. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118051
Lot 16
Magna Graecia, Southern Italy, Apulia, Virginia Exhibition Painter, ca. 330 to 300 BCE. A masterful Apulian red-figure amphora attributed to A.D. Trendall’s Virginia Exhibition Painter, the vase of a grand scale, presenting an elegant, sinuous form with intriguing iconography (see extended description below) and extensive decoration, all finely delineated in red-figure technique with additional fugitive white, yellow, and beige pigments. An exceptional and important work displaying superb artistry and technique. Size: 14.75" in diameter x 39" H (37.5 cm x 99.1 cm)Virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Refined vases like this amphora were not merely utilitarian pottery, but rather works of art in their own right, highly prized throughout the classical world. Red figure pieces in particular allowed for the development of more naturalistic imagery than black figure examples. This innovative technique involved creating figures by outlining them in the natural red of the vase, making it possible for the painter to then enrich the figural forms with black lines to suggest volume, perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail.Side A of this amphora features a pair of warriors sheltered by an ionic naiskos, one on horseback wielding a spear, his horse's right front leg lifted to mirror his own attack gesture targeted at his opponent who counters with his weapon and shield. Above this dramatic depiction of the pair of rivals, on the shoulder of the vase, is a female bust emerging from a blossom, a signature of the Virginia Exhibition Painter as well as the elite White Sakkos Painter. The Virginia Exhibition Painter also included floral elements beneath the warriors as well as a pair of plume-like elements beside the rider's torso, perhaps elements of his helmet and/or armor. This compares to another Apulian artist's (the Ganymede Painter's) penchant for adding iconography beyond the figures under the naiskos. On the obverse is a pair of draped standing youths facing one another, perhaps mourners of whomever did not survive the rivalry depicted on Side A, one leaning upon a staff or walking stick, with a distinct maker's mark between their heads. In addition to the figural imagery are the extensive decorative elements which are quite characteristic of the Virginia Exhibition Painter's known oeuvre. Note the ivy leaf motif beneath the rim created via fugitive white and creamy beige pigments, the black fan palmettes and white vertical rays on the neck painted just above the female bust who emerges from a blooming, foliated blossom with elaborate spiraled tendrils on the shoulder, this underscored by a tongue pattern, all in red-figure with fugitive white and yellow. Adorning the central naiskos scene are ivy leaf vines flanking the ionic columns as well as registers of dotted, scrolled, linear, and wave motifs below the scenes and continuing around the circumference of the vessel. Finally, beneath the elegant twin handles are large, double, red-figure palmettes.A remarkable vase of the so-called Ornate Style by the Virginia Exhibition Painter of a grand scale, decorated in an elaborate manner with intriguing scenes and figures as well as a great deal of subsidiary ornament in added colors. For a comparable example at Royal Athena Galleries listed at $125,000, follow this link: http://www.masterart.com/Greek-the-Virginia-Exhibition-Painter-330-300-Apulian-large-red-figured-amphora-the-Virginia-Exhibition-Painter-PortalDefault.aspx?tabid=53&dealerID=361&objectID=502940Trendall named this artist the Virginia Exhibition Painter, because five of his vases which came from the same tomb were first featured in an exhibition of South Italic vases at the Virginia Museum of Fine Arts in 1982, and a few were published in the accompanying catalogue - M. E. Mayo and K. Hamma, "The Art of South Italy: Vases from Magna Graecia" (Richmond 1982). Cf. especially the naiskos scene on p. 179. No. 73, and the woman on the shoulder of no. 76 (p. 185), the latter also a neck-amphora. Provenance: Ex-Royal Athena Gallery, NYC, NY. Condition: Handles reattached. Drilled hole beneath one handle for thermoluminescence testing. Surface wear with expected scratches, pigment losses, and mineral deposits commensurate with age. Small chip on right column of naiskos. Painting still quite vivid and impressive. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118744
Lot 139
Western Mexico, Tecoman and coastal area, Colima, ca. 200 BCE to 200 CE. The style of this unslipped buff figurine is typical of Tecoman and the coastal area. It blends the typical coffee-bean eyes and facial features with a plate-flat body and string arms. The Colima would have placed such a figure with his characteristic cap-shaped helmet, ear ornaments, ornamented breechcloth, pectoral, and armbands in a tomb either to protect or resemble the deceased. Size: 4.25" W x 7.75" H (10.8 cm x 19.7 cm)An excellent example from the West Mexican shaft tomb tradition. Ceramic figurines such as this are among the most expressive and dramatic created in Mesoamerica. According to scholars of this tradition, such ceramic figures were the primary outlet for artistic expression for the shaft tomb cultures and there is little record of monumental architecture, stelae, or public art associated with these cultures. Nice mineral deposits and root marks. Provenance: Ex-Private Arizona collection Condition: Right arm reattached. Upper section of head reattached. Nice manganese deposits and root marks. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118976
Lot 211
West Africa, Cameroon, Mambila peoples, ca. early 20th century CE. This is a carved wood helmet mask painted with kaolin and ochres, with a round face with three dimensional eyes, nose, and mouth full of teeth on the front, and eyes and long horns reminiscent of an antelope forming the part that goes over the wearer's head. The Mambila peoples live in the grasslands of Cameroon and Nigeria and practice agriculture from autonomous villages. Masks like these are worn by men in the society during the planting and harvesting seasons; they are meant to represent the hunter in the bush, becoming a part of the animal kingdom. They are often danced alongside secondary animal masks like the crow, owl, or dog, who is a valued hunting companion. This type of mask is often referred to as a "moon mask". Comes with custom stand. Size: 19.25" L x 9" W x 6.5" H (48.9 cm x 22.9 cm x 16.5 cm). Provenance: Ex-private Washinton collection; ex-Herell collection, Los Angeles collected in situ, December 1987. Condition: Intact, with expected wear, but beautifully clear colors and features. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #113631
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70379 item(s)/page