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Lot 1004
A diamond solitaire ring, the round cut diamond weighing approximately 1ct and set in a 9ct yellow gold band. Ring size M. * Condition: The diamond has no chips or damage. Overall SI1, colour J-K. Very little fluorescence under UV. The stone has a small patch of cavity line inclusions near the girdle, which show on the surface and can be felt with a fingernail. There is a fine feather inclusion to the side and a small patch of mineral inclusions including tiny carbon spots in the same place. There is also a patch of cloud inclusions around one claw.
Lot 667
Six .577 Martini-Henry black powder centrefire rifle cartridges with spare packing, each cartridge stamped with letters K & I with broad arrow. (spent) * Note: Bidding strictly limited to Channel Islands and United Kingdom clients only. This lot cannot be posted to any other locations worldwide.
Lot 679
SELTENE IKONE "Der heilige Nikolaus errettet drei zu unrecht zum Tode Verurteilte" / Icon "St. Nicholas redeems three wrongly condemned to death, Ei-Tempera über Kreidegrund auf Holz. Die Ikone zeigt eine selten dargestellte Szene aus dem Leben des Heiligen Nikolaus von Myra: Vor den Stadttoren rettet er drei Unschuldige vor der Hinrichtung mit dem Schwert. H. ca. 29 x B. 23,3 cm. (Gebrauchsspuren; Malschicht partiell beschädigt und in einem schlechten Zustand; goldene Partien wohl sekundär). IKONA «Svyatoy Nikolay iskupayet troikh nespravedlivo prigovorennykh k smerti»
Lot 118
18ct gold and platinum set diamond trilogy ring, diamond shoulders, 0.2ct approx, ring size K, 2.3gm; together with a continental gold solitaire diamond ring, diamond shoulders, 0.33ct approx, ring size M, 2.0gm and an 18ct gold and platinum five stone diamond ring, 0.25ct approx, ring size L, 1.4gm (3) (box)
Lot 299
Yellow metal and opal ring. Approximate weight 5.8 grams. (B.P. 21% + VAT) Size K 1/2 Stone in good condition, very white with green play of colour. Thumbnail chip to side facet at 6 o'clock. Scratch to stone at 12 o'clock 1mm from top of table facet. Long scruff to top of table facet and to base. Scruffs to facet edges, otherwise good. 19 x 14mm approx.
Lot 6847
Fromentin, Eugène: Ägyptische Huldigungsszenen Ägyptische Huldigungsszenen: Ein Pharao weist Bittende zurück; Untertanen verneigen sich vor dem thronenden Pharao. 2 Zeichnungen, je Feder in Braun, aquarelliert, verso: je flüchtige Skizzen. Je ca. 9,5 x 13 cm. Beide monogrammiert "EF", eines datiert "[18]51". Fasziniert von den orientalischen Arbeiten seiner Landsleute Eugène Delacroix und Alexandre Gabriel Decamps reiste Eugène Fromentin 1846 erstmals nach Algerien, 1849 ist er in Ägypten. Die Reisen durch die nordafrikanischen Gefilde prägen seine Motivwahl nachhaltig, weitere Reisen folgten und Fromentin avancierte zu einem der bedeutendsten Orientalisten seiner Zeit in Frankreich. Provenienz: Aus den Sammlungen Hans Licht, Berlin (nicht bei Lugt). K. H. Sänger, Hamburg (nicht bei Lugt). Galerie Fach, Frankfurt. Galerie Arnoldi-Livie, München. Zuletzt in Hessichem Privatbesitz. Literatur: Michael Brunner u.a. (Hg.): Géricault, Delacroix, Daumier. Französische Lithographien und Zeichnungen, Ausst.Kat. Goch/ Fulda/ Schwäbisch-Gmünd/ Überlingen 2009/2010, Petersberg 2009, S. 202, Nr. 120 mit Abb. 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.
Lot 5558
Graphik: Ca. 35 Blatt des 16.-19. Jh Ca. 35 Blatt des 16.-19. Jh. Darunter von und nach: J.-J. Boissieu, H. Brosamer, A. Carracci, D. Chodowiecki, A. da Correggio, H. Goltzius, W. Hollar, C. Faucci, F. Krüger, J. G. K. Liebezeit, F. Nerly, G. Reni, J. Roos, J. E. Ridinger, D. Ryckaert. 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.
Lot 5568
Graphik: Ca. 140 Graphik des 16.-19. Jh, überwiegend niederländische Künstler. Ca. 140 Graphik des 16.-19. Jh, überwiegend niederländische Künstler. Darunter von und nach: Nicolaes Berchem, Jan de Bisshop, Abraham Bloemaert, Cornelis Blöoemaert, Boetius Adamsz. Bolswert, Schelte Adamsz. Bolswert, Marcus de Bye, Cornelis Cort, Cornelis Danckertsz., Gerrit Dou, Karel Dujardin, Frans Floris, P. Fouquet, Hendrick Goltzius, Maarten van Heemskerck, Herrewyn, Arnold Houbraken, Th. van Kessel, Antonio Lafreri, Gerard de Lairesse, K. van Limborch, Gaspar Luyken, Jan Luyken, Jacob Matham, Pierre Mortier, Jan Harmensz. Muller, Adriaen van Ostade, Crispijn de Passe, Simon de Passe, Jacob Ruisdael, Jan Saenredam, Jacob van der Schley, Christofel van Sichem, Dirk Stoop, Jan Stradanus, Herman van Swanevelt, Cornelis Jansz. Visscher, Lambert Visscher, Wierix, Wijsmuller. 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.
Lot 5085
Dürer, Albrecht: Der Spaziergang Der Spaziergang. Kupferstich. 19,6 x 12 cm. Um 1498. Meder 83 b-c (von k, II). Das Haubenornament noch schön klar, vor den Kratzern an Kinn und Brust des Mannes, jedoch bereits mit dem Querstrich unten am Baum. Prachtvoller, kräftiger, dabei harmonischer und wirkungsvoller Abzug. Knapp an bzw. oben leicht innerhalb der Darstellung geschnitten. Minimal fleckig, braune Federeinzeichnung am Monogramm sowie am Rücken der Frau, geringe Leimspuren sowie kleine Montierungsreste verso, entlang des oberen Randes sowie entlang des rechten und des unteren Randes partielle Partien sehr sorgsam und äußerst unauffällig angerändert, dort mit dezenten und versierten Federretuschen, sonst herrliches und vollkommen wirkendes Exemplar. 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.
Lot 5081
Dürer, Albrecht: Der hl. Hubertus, auch Eustachius genannt Der hl. Hubertus, auch Eustachius genannt. Kupferstich. 35,4 x 25,7 cm. Um 1501. B. 57, Meder 60 e (von k). Wz. Großer Bär (vgl. Meder 87). Die Darstellung des hl. Hubertus, für die Albrecht Dürer selbst die Bezeichnung "Eustachius" gebrauchte - beide Heilige teilen sich als Schutzpatrone der Jagd die Legende -, stellt die größte Kupferstichplatte im druckgraphischen Werk des Meisters dar. In den Abmessungen reicht sie gar an die Holzschnitte der Apokalypse heran. Zweifellos zählt es zu den Hauptblättern des Meisters, hier ausgezeichneter, teils zarttoniger und noch feinzeichnender Druck meist knapp an die Einfassungslinie bzw. Plattenkante geschnitten, partiell innerhalb dieser. Insgesamt leicht angeschmutzt, verso leichte geglättete Falzspuren, oben rechts sorgsam ausgebesserte Fehlstelle, weitere meist unauffällig ausgebesserte oder geschlossene Randläsuren sowie Erhaltungsmängel, in all diesen Stellen mitunter sehr dezente und sorgsame Federretuschen, sorgsam hinterfasert, im Gesamteindruck gut. 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.
Lot 6126
Buchholz, Karl: Am Waldrand bei Weimar Am Waldrand bei Weimar. Öl auf Malkarton. 21 x 31,5 cm. Unten links signiert "K. Buchholz", verso mit einem alten, handschriftl. bezeichneten Etikett mit Provenienzangaben, dem Etikett der "Grossen Berliner Kunstausstellung 1906" sowie einer Inventarnummer "Inv.-N°: W .R. 25". Um 1875. Ab dem Jahr 1867 lernte Buchholz an der Weimarer Kunstschule bei August Michelis, ab 1871 wurde er Schüler von Theodor Hagen. Buchholz ließ sich fast ausschließlich von Motiven seiner Weimarer Heimat inspirieren. Das vorliegende in lockerem Pinselduktus ausgeführte Gemälde repräsentiert exemplarisch Buchholz' naturalistische Bestrebungen. Seine Naturdarstellungen sind durchaus vergleichbar mit den Werken der Schule von Barbizon. In seinem Atelier befanden sich Fotografien nach Werken von Rousseau, Daubigny und Corot. Provenienz: Sammlung F. Strutzkopf, Weimar. Sammlung P. Westphal. Privatsammlung Hamburg. Ausstellung: Grosse Berliner Kunstausstellung, 28. April bis 30. September 1906. Karl Buchholz 1849-1889. Ein Künstler der Weimarer Malerschule, Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck 23. Januar bis 5. März 2000; Angermuseum Erfurt 25. März bis 6. Juni 2000. Literatur: Grosse Berliner Kunstausstellung, 28. April bis 30. September 1906, Ausst.Kat., Berlin, S. 12, Nr. 92 "Waldrand". 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.
Lot 6768
Füger, Heinrich Friedrich: Alexander und sein Arzt Philippus Alexander und sein Arzt Philippus. Rötel, rot und grau laviert, weiß gehöht. 49,8 x 65,5 cm. Der Verbleib des 1789 in Auftrag gegebenen Gemäldes, dem die vorliegende Zeichnung Fügers zugrundeliegt, ist augenblicklich unbekannt. Überliefert ist das Bild in einem 1792 in Wien entstandenen Schabkunstblatt von Johann Pichler. Auftraggeber des Gemäldes und eines Pendants ("Antiochus und Stratonice", heute Wien, Wienmuseum) war Johann Hunczovsky (1752-1798). Hunczovsky erhielt 1781 eine Professur am Militärhospital zu Gumpendorf, dann an der Josephs-Akademie, 1791 schließlich wird er zum k. k. Leibchirurgen Kaisers Leopolds II. ernannt. Er war nicht nur Fügers Förderer und Auftraggeber von Gemälden, die mit seinem Arztberuf in Verbindung standen, sondern mit dem Künstler auch eng befreundet. Beide waren sie seit 1785 Mitglied der Freimaurerloge "Zur Wahrheit". Füger portraitiert ihn 1794 (Wien, Wienmuseum, Inv.-Nr. 56419). Eine zweite, etwas kleinere Entwurfszeichnung befindet sich heute im Kupferstichkabinett der Akademie der bildenden Künste in Wien (R. Keil, op.cit. WV 215). Diese enthält noch nicht den Mann links hinter Alexander, der diesen am Trinken des vermeintlich vergifteten Weines hindern möchte, was die Dramatik der Szene deutlich steigert. Der Diener jedoch, der Alexander den Becher reicht, kniet im Wiener Entwurf bereits, eine Idee, die Füger im endgültigen Gemälde übernimmt. Literatur: Robert Keil: Heinrich Friedrich Füger, Nur wenigen ist es vergönnt das Licht der Wahrheit zu sehen, Wien 2009, S. 266 , unter WV 215 (?). 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.
Lot 894
An English poured pale wax shoulder-head doll with H W Morrell ink stamp, probably Pierotti with inset blue glass eyes, inset long brown hair, head turned slightly to the right, stuffed body with purple retailer's ink stamp and K/9006 handwritten in brown ink, wax tie-on limbs, original blue dress, underclothes, white cotton pinafore and black leather shoes --18 ½in. (47cm.) high (neck and head melted and sunk to the right, some wax dripped onto clothes and hair, missing finger)
Lot 123
Attributed to John K. Quatorman (c.1853)Portrait of a boy, small half-lengthPencilSigned and dated Q 1853 on the reverse10 x 9cm (3¾ x 3½ in.) Together with a 19th Century portrait of John Drew, aged 12, in a black and gold hat (2)To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Lot 98
Attributed to Deborah Goldsmith (American 1808-1836)A portrait of a mother and child, seated in an interior & A portrait of a gentleman, seated in an interiorPencil and watercolour, a pair17.5 x 16.5cm (6¾ x 6¼ in.); and 15.5 x 13.7cm (6.1/8 x 5.3/8 in.) (2)New York State, Maryland, or Southeastern Pennsylvania, circa. 1830.Provenance:Thomas K Woodward, New York CityDavid A. Schorsch. Greenwich, ConnecticutRalph O. Esmerian. New York CityDavid Wheatcroft, MassachusettsAustin T. Miller, OhioPurchased from the above by the present owner in 2005To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector. Condition Report: Man: The work has been stuck down to the card mount using tabs. The colour is good although there are some brown spots visible to the blue background around the sitter's head. Some light, fine craquelure to the black pigment areas, predominantly in the gentleman's coat and the left edge of the table. Otherwise light wear commensurate with age. Lady: The work has been hinge mounted along the upper edge using two bits of white mounting tape. The colour is good although there are brown spots to the sky around the sitter's head. Some light, fine craquelure to the black pigment, namely in the sitter's dress. There is a small white scratch to the upper left corner (approx 2cm). Light wear and some very light scattered staining to the extreme edges, otherwise light wear commensurate with age.Condition Report Disclaimer
Lot 7
Geneva cylinder watch with gold and floral enamel dial in engraved open face case, 'K.18', 39mm.CONDITION REPORT:Good order, going, very little used. Standard cylinder movement. Inner dust cover is marked 'cuivre' (copper). Nice dial, no cracks. No dents to the case, which is nice and crisp. Gross weight 47g.
Lot 112
THOMAS WALMESLEY circa 1792 watercolour - view of the River Dee near Bala, unsigned with gallery label verso for Myles K Wynn Cato and pictorial reference to a print after the original, 29.5 x 41cms Condition Report: slightly rippled against the mount, overall browning and slight foxing to the sky area, the trees to the foreground possibly colour heightened, small grazed area to the lower right corner
Lot 224
THE BELL FROM THE 'VICTOR III' CLASS RUSSIAN NUCLEAR POWERED ATTACK SUBMARINE K-524, 1977 cast in bell metal with black filled lettering inscribed K-524 1977 r. with plain shoulder and rim, suspension lug and clapper --13½ x 12½in. (34 x 32cm.); together with a suspension bracket Provenance: Obtained from breaker's yard, Murmansk, 2003Footnote: A total of 26 'Victor III' class boats were built between 1977 and 1992. Given the Soviet designation of 'Schuka', the Victor IIIs are unofficially known in the U.S. Navy as the 'Walker' class, since many of the improvements in quieting the boats and in providing them with more effective sensors were the product of the activities of the Walker spy ring in the 1970s and 1980s - they were the submarine which inspired the book and later film 'The Hunt for Red October' where a super-quiet Soviet submarine evades its own navy and defects. K-524 was the first to be launched at the Admiralty Yard, Saint Petersburg and displaced 4,900 tons (6,000 tons submerged), was 341ft long with a 32ft beam and draft of 23ft. They were armed with four 25½in. torpedo tubes and a missile tube, they could carry 18 torpedoes. The class has a distinctive aft pod visible when surfaced which contained a lot of improved sonar equipment which together with towed arrays presented a great leap forward in underwater 'vision', later boats also had a new 'Viking' command system installed, reputedly stolen from the Norwegian 'Ula' class. Fitted with twin nuclear reactors and a seven-blade propeller, she could cruise on the surface at 18-knots, but underwater could do 30-knots – her forward planes retracting at high speed to reduce drag and noise. Crewed by 115 men, she could dive to 396 meters, although her operational depth was 320 meters with a sea endurance of 80 days. K-524 was part of the vast Soviet cold war fleet covertly pressurising the West—and America in particular—and achieved the singular distinction of being the first submarine to navigate submerged through the Robson & Kennedy Straits west of Greenland, and also successfully performed a simulated attack on the US aircraft carrier America. The fall of the Berlin Wall in 1989 heralded a pause in Russian aggression and K-524 was one of many decommissioned by 1996 and was finally broken up in 2002.Condition report: Approx. 20kg
Lot 118
2nd-4th century AD. A gold ring with D-section hoop expanding to an ellipsoidal bezel; cut and polished carnelian gemstone with intaglio standing female figure, probably a deity. 2.94 grams, 22.57mm overall, 18.35mm internal diameter (approximate size British K 1/2, USA 5 1/2, Europe 10.58, Japan 10) (3/4"). Ex Shiraz Antiques, London, W1, in 1998. Fine condition.
Lot 575
2nd-6th century AD. A repoussé breast plate ornament representing a bare-footed deity wearing a headdress, holding a staff in each hand with finial formed as birds with fish suspended from beaks; geometric and abstract motifs depicting a 'skirt'; shell inlay in earrings, to neck ornamentation and to staffs; three domed discs suspended from headdress; pierced lugs placed at various points for attachment; formed from a thick plate or sheet of gold alloy; found between Chiclayo and Trujillo, probably Cayalti or Chepen, Lambayeque, circa 200-500 AD. See Newton, D. et al., The Pacific Islands, Africa, and the Americas, The Metropolitan Museum of Art, New York, 1987; cf. Pillsbury, J. et al., Golden Kingdoms: Luxury Arts in the Ancient Americas, Los Angeles, J. Paul Getty Museum, 2017, no.21; see Jones, J., and Heidi, K., Gold of the Americas, The Bulletin of the Metropolitan Museum of Art vol, 59, no.4, Spring 2002. 65 grams, 23cm (9"). From the private collection of Mr. Michael J. Vaupel, Miami, USA; acquired from Gloria Lisset Reyes Garcia, Florida, USA; ex private American collection, circa 1960s; previously in the collection of Mr. Razeto; acquired in the 1950s-1960s; formerly acquired before 1950. This pectoral once belonged to a high priest or ruler from the Sicán or Lambayeque culture in northern Peru. It was intended to protect the deceased in the afterlife and was deposited in a grave, either on top of or around the upper part of, the body of the deceased's mummy bundle as a substitute for the face of the deceased. Additional masks, possibly worn by attendants in the afterlife, were also placed within the tomb. Artificial arms and hands would have been placed around the body, positioned to appear as though they held decorated gold beakers. The cups themselves would have been stacked in the corners of the burial chambers. The ovoid eyes are characteristically Lambayeque in style and may represent a figure known as the Sicán deity. Some experts believe that an individual interred with such a breastplate would have been believed to appropriate the deity's attributes and powers, and transformed into venerated ancestors upon death. The hanging ornaments are typical for the Sicán breastplate. Such objects have been discovered in the tombs of both male and female notables. Although used in the context of burials, the dangles conveyed a sense of animated movement, as the mummy was processed to its final resting place within a monumental platform mound. Pre-Columbian gold artefacts were generally of gilded gold. The surface is gold gilded with an alloy composed of gold and a small percentage of silver and copper. A huge variety of gold ornamental objects were produced for the Sicán elite, which they used in decorative, funerary and ceremonial contexts. Pieces of armour such as the breastplate or plastron were possibly used for ritual purposes, but more likely served as deposits in the graves of the noble dead. The ornate pectoral for a high-ranking noble or priest was sewn onto clothing, used to convey the wealth and power of their owners and separating them from artisans, farmers and herders, whose labour underpinned their rule. Only kings and religious figures of high status wore such adornments. Pre-Columbian artisans excelled in metalwork. The Moche was a powerful ancient state on the north coast of present-day Peru. Very fine condition.
Lot 581
Classic Period, 5th-7th century AD. A carved alabaster mask depicting a naturalistic human face, probably a dignitary or ruler with almond-shaped eyes, open mouth with thin lips, long ears with drilled lobes, broad nose with drilled nostrils; nicely worn from years of handling; natural cracks, inclusions and ancient deposits; two drilled holes on the reverse. See Berrin, K. and Pasztory, E., Teotihuacán: Art from the City of Gods, London and New York, Thames and Hudson, 1993; see Matos Moctezuma, E., Teotihuacán, New York, Rizzoli International, 1990. 200 grams, 10cm (4"). From the private collection of Mrs Maureen Ogle, Coarsegold, California, USA; acquired from a geologist, circa 2008; previously in a west coast collection, since the 1980s; ex Los Angeles collection, acquired in the 1970s-1980s, thence by descent; believed to have been acquired in Mexico, circa 1950s-1960s. The mask would have been created using hand tools; weathering and handling have eroded most of the original tool marks; no signs of modern tool marks or applied patina were found when the item was examined under a microscope. It is smaller than life-size and was probably originally intended for use in a burial ritual; the drilled holes on the reverse indicate that the mask could have been worn as a necklace or in ritual contexts. Fine condition.
Lot 65
5th-4th century BC. A bronze appliqué of Papposilenus in the form of a facing mask, two ram horns over his abundant hair, long pointed ears, well curated beard, eyes and mouth open for fastening; probably an item of furniture for bronze and wooden doors. See Hedreen, G., 'Myths of Ritual in Athenian Vase-Paintings of Silens', in: The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama, Cambridge University Press, 2007, p. 151; parallels with terracotta masks of Sylenus from Taranto, as displayed in Trieste, Museo Civico di Antichita' (1873-1910"). 72 grams total, 90mm including stand (3 1/2"). Previously in a private German collection, between 2015-2016; formerly in the collection of S. K., since 1986. ???????, Sil?nós, or Seileno (in ancient Greek: ????????, Seil?nós), is a character from Greek mythology and corresponds to the old rustic god of wine making and drunkenness prior to Dionysus, of which is the main retainer. Papposilenus is a representation of Silenus that emphasises his old age, particularly as a stock character in satyr play or comedy. Fair condition, repaired.
Lot 533
12th-14th century AD. A gold ring comprising a D-shaped hoop and expanding shoulders with scroll work flourishes and raised discoid bezel bearing an engraved cross potent. 4.72 grams, 19.93mm overall, 16.19mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9) (3/4"). Property of a London gentleman; formerly in the private collection of an English lady previously living in Oxford; acquired on the UK art market from the mid 1980s. Very fine condition.
Lot 530
Mid 14th-mid 15th century AD. A gold finger ring with D-section hoop, flared and cusped shoulders each with an inset garnet and heart-shaped reveal, trapezoidal bezel with claw setting for a cabochon sapphire; the underside flat with blackletter 'ihc' legend. See Gaimster, G. & Gilchrist, R., The Archaeology of the Reformation 1480-1580, and Kunz, G., Rings for the Finger, 1973. Published under the Treasure Act, reference 2020-T74 and Portable Antiquities Scheme report number NMS-71D15D. 4.06 grams, 20.76mm overall, 16.13mm internal diameter (approximate size British K 1/2, USA 5 1/2, Europe 10.58, Japan 10) (3/4"). Found whilst searching with a metal detector on Monday 20th January 2020, near Wisbech, Cambridgeshire, 2020; recorded with Portable Antiquities Scheme and disclaimed under Treasure Act reference 2020-T74; accompanied by various documents including a letter from the British Museum stating that the ring is to be returned to the finder, and a copy of the PAS report number NMS-71D15D, and an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.165864/7/10/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10224-165864. The HM Coroner report offers a date range of 1350-1550 AD based on the overall format of the ring, the devotional significance of the Christogram (ihc) and the cut of the cabochon. A date in the later 16th century or beyond is regarded as improbable due to the prevailing religious climate of the Reformation. Very fine condition. Rare and important. [A video of this lot is available to view on Timeline Auctions website.]
Lot 574
2nd-6th century AD. A pair of gilded copper-alloy ear spools, each with gold surface and red-brown cinnabar colouration; the spools are discoid with raised bands and a capped and pierced central cylindrical neck to the reverse; the discs present almost identical scenes of a standing warrior wearing a headdress and holding a club and shield; Lambayeque Valley, circa 200-500 AD. See Pillsbury, J. et al., Golden Kingdoms: Luxury Arts in the Ancient Americas, Los Angeles, J. Paul Getty Museum, 2017, no.21; cf. Jones, J., and Heidi, K., Gold of the Americas, The Bulletin of the Metropolitan Museum of Art vol, 59, no.4, Spring 2002, p.16. Exhibited BAAF, Brussels, Belgium, 2015-2016. 173 grams total, 10.7cm each (4 1/4"). From the private collection of Mr. Michael J. Vaupel, Miami, USA; acquired from Gloria Lisset Reyes Garcia, Florida, USA; ex private American collection, circa 1960s; previously in the collection of Mr. Razeto; acquired in the 1950s-1960s; formerly acquired before 1950. The age of the Moche people has been lauded as the 'Mastercraftsman Period' by archaeologists. Alongside other developments and innovations, the Moche excelled at metalwork, such as this pair of earrings, which may have been worn by high status men or women. The pair would likely have been deposited as grave goods. The Moche culture existed between 200-850 AD, before the advent of the Inca. Although they never formed a single centralised political entity, they built thriving cultural regional centres stretching from the Nepeña River Valley in the south to the Piura River, close to the modern border with Ecuador, developing coastal regions into fertile farmlands and exploiting the maritime resources of the Pacific Ocean's Humboldt Current. [2] Fine condition.
Lot 501
5th-7th century AD. A gold ring with hoop comprising four thin round-section hoops, supporting a flanged discoid bezel with raised perimeter, set with a cut and polished garnet. Cf. Hadjadj, R., Bagues Merovingiennes: Gaul du Nord, Paris, 2007, item 119, for a very similar example. 1.57 grams, 19.67mm overall, 16.29mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9) (3/4"). From a deceased London, UK, collector; formerly with Paul Moore, Hampshire, UK. Fine condition.
Lot 69
1st century AD. A marble head of a boy with neutral expression and thick eyelids, the hairstyle typical of the Julio-Claudian period; head with realistic hairstyle, with the hair divided into two strands branching off in the middle of the forehead; still with Hellenistic traits, it is however solidly Roman and compares with portraits of children of the Julio-Claudian age; mounted on a custom-made stand. See Felletti Maj, B.M., Museo Nazionale Romano, I Ritratti, Roma, 1953; Bianchi Bandinelli, R., L'arte Romana nel centro del potere, dalle origini alla fine del II secolo d.C., Roma, 1969; Scrinari, V.S.M., Sculture Romane di Aquileia, Roma, 1972; Fittschen K., Zanker P., Katalog der römischen Porträts in den Capitolinischen Museen und den anderen kommunalen Sammlungen der Stadt Rom. Bd. I. Kaiser- und Prinzenbildnisse, Mainz am Rhein, 1985; Brizzolara, A.M., Le sculture del Museo Civico Archeologico di Bologna, La collezione Marsili, Comune di Bologna, Bologna, 1986; Agnoli, N., Museo Archeologico Nazionale di Palestrina, Le sculture, Roma, 2002; Boschung, Gens Augusta, Untersuchungen zu Aufstellung, Wirkung und Bedeutung der Statuengruppen des julisch-claudischen Kaiserhauses, Mainz am Rhein, 2002; Gagarin, M., Fantham, E., The Oxford Enciclopedy of Ancient Greece and Romem volume I, Oxford, 2010; Kolega, M., 'Problems in Dating Portraits from the Julio- Claudian Period in Liburnia // XII Me?unarodni kolokvij o rimskoj provincijalnoj umjetnosti. Datiranje kamenih spomenika i kriteriji za odre?ivanje kronologije, Pula, 23-28. V. 2011; Koncani Uha? I. (ur.) Pula, Arheološki muzej Istre, 2014, pp.87-94; similar portraits can be found in Aquileia (Scrinari, 1972, cat.222, p.74), Roma (Felletti Maj, 1953, no.137); other analogies can be found in the Capitolini Musei in Rome: a portrait of a young prince (Marcellus?) from Augustus’ period (Fittschen – Zanker, 1985, pp.19-21, no.19, pls.19, 21, 22); a head of a young man in Bologna (Brizzolara,1986, pp.112-113, no.54, pls.110-111), a portrait of Emperor Claudius (Boschung, 2002, p.26, no.29, pls.17,2; 18,4) and particularly of the young Nero (Boschung, 2002, pls.19, I, 3; 20,1) from the dynastic group in Veleia. 13.8 kg, 37.5cm including stand (14 3/4"). Property of an English gentleman; formerly in the private collection of A L, acquired London 1996; accompanied by an archaeological expertise written by Dr. Raffaele D’Amato, and this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10135-136709. This head represents a young man with delicate features and an absorbed expression; the contours of the face, the soft surface, modulated in delicate passages of light and shadow emphasises the bony structure of the face, concentrating all the expressive intensity on the eyes and on the softly ajar fleshy mouth. The hair, composed of short, thick and wavy locks, comes off the forehead and temples, highlighting the face. The piece is finely executed, although it betrays the work of a possible provincial workshop. Fine condition. An impressive Julio-Claudian head. [A video of this lot is available to view on Timeline Auctions website.]
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