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Click here to subscribeJohn Birney (20th Century) October at Loweswater, a watercolour showing Loweswater and the surrounding fells in autumn. Signed by the artist, lower right. Mounted in an off-white mount, in a light wood frame under glass. Dimensions are 35.5 cm by 27.5 cm, with an overall frame size of 53.5 cm by 45.5 cm.
Brian D. Powell (British, b.1932) A watercolour painting titled 'A Waiting Tide', Solway, depicting a coastal scene at low tide. Signed and dated by the artist, bottom left, and painted in 1986. Mounted in a light brown mount with a simple metallic frame. The painting measures 55 cm by 29 cm, with an overall frame size of 77 cm by 52 cm.
Caroline Cook and I. Dunn. A colour print and water colour painting respectively, both with equine themes. Both signed by the respective artists. 'The Victor and the Vanquished' is within a off white mount, dark wood and gold frame, under glass. 32cm x 23cm, 52cm x 44cm overall. 'Early Morning Shrimping' is housed in an off white mount and light grey and gold frame, under glass. 24cm x 14cm, 41cm x 31cm overall.
ITEM: Oil lampMATERIAL: PotteryCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 24 mm x 76 mm x 89 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman oil lamps were essential everyday objects in ancient Roman society, used primarily for illumination but also serving as decorative and functional items. These lamps, typically made from clay, bronze, or terracotta, were fueled by oil, often olive oil, which was abundant in the Roman Empire. The lamps had a simple design, usually consisting of a shallow basin with a spout where a wick would be placed to burn the oil. Some lamps featured intricate designs, including depictions of gods, animals, mythological scenes, and geometric patterns, making them not only practical tools but also a form of artistic expression. Roman oil lamps were widely used in homes, public buildings, and outdoor spaces, offering a much-needed light source after sunset.The production of oil lamps was widespread, and their forms varied depending on the region and period. Early Roman lamps often featured a round or oval shape, but by the 1st century BCE, they began to take on more elaborate designs, including those shaped like animals, heads, and even miniature architectural forms. Lamps were frequently mass-produced in workshops, and many examples have been found in archaeological sites across the Roman Empire, from Britain to North Africa. Some lamps were designed with multiple spouts, allowing several wicks to burn at once, while others were simple and utilitarian. The widespread use and variety of these lamps suggest they were integral to daily Roman life, found in homes, tombs, temples, and even used for public ceremonies.In addition to their functional role, Roman oil lamps had symbolic and religious significance. Lamps were often placed in tombs as part of funerary rituals, symbolizing the continuation of life or guiding the deceased’s soul to the afterlife. They were also used in religious ceremonies and offerings to gods, particularly in the context of private worship or in the homes of wealthy Romans who could afford to have them as part of their domestic cult practices.
ITEM: Oil lampMATERIAL: PotteryCULTURE: IslamicPERIOD: 11th - 13th Century A.DDIMENSIONS: 60 mm x 56 mm x 103 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired before 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Islamic oil lamps from the 11th to 13th centuries reflect both the practical needs and the artistic achievements of the medieval Islamic world. These lamps were primarily crafted from materials such as brass, bronze, and glazed ceramics, each with distinct regional styles. Metal lamps were particularly popular due to their durability and ability to withstand high temperatures, while ceramic lamps offered an affordable and widely accessible alternative. The basic form of these lamps consisted of a rounded body with a central reservoir for oil and an extended spout for holding the wick, but many variations existed depending on region and purpose. The lamps were commonly used in mosques, homes, and public spaces, illuminating interiors and enhancing night-time activities with a warm, consistent glow.Islamic oil lamps from this period were often decorated with intricate patterns and inscriptions, reflecting the flourishing of Islamic art and the integration of spirituality into daily objects. Geometric designs, arabesques, and calligraphy were popular motifs, often inspired by Islamic religious themes and the principles of aniconism, which discouraged the use of human or animal figures in religious art. Calligraphic inscriptions, typically featuring verses from the Quran, invocations, or blessings, were especially prevalent, emphasizing the connection between the object and spiritual life. These lamps were not just functional but also carried a symbolic and religious meaning, with the light they produced symbolizing divine guidance and spiritual illumination in Islamic thought.
ITEM: Scarab with falcon, uraeus, men-sign (Amun-Re)MATERIAL: SteatiteCULTURE: EgyptianPERIOD: New Kingdom, 1550 - 1070 B.CDIMENSIONS: 12 mm x 8 mmCONDITION: Good conditionPROVENANCE: Ex American egyptologist collection, active in the early part of the 20th century, brought to the US with the family in 1954.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. The Egyptians saw the Egyptian scarab (Scarabaeus sacer) as a symbol of renewal and rebirth. The beetle was associated closely with the sun god because scarabs roll large balls of dung in which to lay their eggs, a behavior that the Egyptians thought resembled the progression of the sun through the sky from east to west. Its young were hatched from this ball, and this event was seen as an act of spontaneous self-creation, giving the beetle an even stronger association with the sun god’s creative force. The connection between the beetle and the sun was so close that the young sun god was thought to be reborn in the form of a winged scarab beetle every morning at sunrise. As this young sun god, known as Khepri, rose in the sky, he brought light and life to the land.Scarab amulets were used for their magical rejuvenating properties by both the living and the dead. Scarabs were used by living individuals as seals from the start of the Middle Kingdom (ca. 2055 BCE) onwards. The most common inscription for these scarabs was the owner’s name. The incised design was often a schematic combination of hieroglyphs and geometric patterning. Patterns could often denote the specific administrative office held by the wearer.Scarabs were also often rendered naturalistically in the round. The regenerative powers of scarabs of this nature could be used by either the living or the dead for healing and protection during quotidian activities or during a deceased person’s passage into the afterlife. The striking red/orange color of this amulet’s carnelian strengthens its solar associations.
ITEM: Oil lamp depicting a lion, Type Bussière E IX 31 - Atlante X A1 aMATERIAL: PotteryCULTURE: Late Roman, ChristianPERIOD: 5th - 7th Century A.DDIMENSIONS: 50 mm x 70 mm x 115 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Christian oil lamps, primarily dating from the late Roman period into the Byzantine era, played a dual role in both practical illumination and religious symbolism. These lamps were often simple in design, reflecting the modest roots of early Christianity. Made typically of clay or metal, they had small, flat bodies with one or two nozzles where wicks could be inserted, and they were fueled by olive oil. As Christianity spread throughout the Roman Empire, Christian iconography began to appear on these lamps, with motifs like crosses, fish, doves, and other symbols representing faith and the promise of salvation. These lamps were used in Christian households, places of worship, and even catacombs, where they provided light and carried symbolic meaning, illuminating spaces as well as representing spiritual enlightenment.The decoration of Christian oil lamps varied widely depending on the time and region. Early examples often used simpler motifs, but as Christianity became more widely accepted, the symbols on these lamps grew more elaborate and distinctively Christian. In the Byzantine period, for instance, lamps might display scenes from biblical stories, the Chi-Rho (a symbol for Christ), or other sacred imagery. Archaeological finds of these lamps in churches and graves underscore their spiritual role, often being placed with the deceased as symbols of hope and eternal life. These lamps helped Christians subtly express their faith, especially in the pre-Constantinian period when they faced persecution.Christian oil lamps also reflected the evolving role of religious art and worship in Christian communities. Beyond functional lighting, these lamps served as teaching tools for the illiterate, using symbols to communicate complex theological concepts.
ITEM: Oil lamp with inscription 'The light of Christ shines for all'MATERIAL: PotteryCULTURE: ByzantinePERIOD: 4th - 5th Century A.DDIMENSIONS: 30 mm x 60 mm x 87 mmCONDITION: Good conditionPROVENANCE: Ex Palestine private collection, acquired in the 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.A Byzantine oil lamp inscribed with the phrase "The light of Christ shines for all" is a remarkable artifact that reflects the deep spiritual and theological beliefs of the Byzantine Empire. This inscription emphasizes the central role of Christianity in daily life and religious practices during the Byzantine period. Oil lamps were essential for both practical illumination and religious rituals, and incorporating a Christian message into their design highlights the integration of faith into everyday objects. The inscription serves as both a devotional statement and a reminder of the divine presence in the lives of believers, making the lamp a significant symbol of Christian piety and enlightenment.The design and craftsmanship of Byzantine oil lamps were highly refined, often made from materials such as clay, metal, or glass. These lamps frequently featured intricate decorations, including religious symbols, motifs, and inscriptions. The inclusion of the inscription "The light of Christ shines for all" on the lamp would have been achieved through engraving or molding, demonstrating the skill of Byzantine artisans. This inscription not only personalized the lamp but also reinforced the idea that light, both physical and spiritual, is a manifestation of Christ's presence and guidance in the world. The lamp's practical function as a source of light was thus imbued with deep religious significance.In addition to its spiritual message, the Byzantine oil lamp with this inscription provides valuable insights into the religious and cultural practices of the period. The lamp would have been used in private homes, churches, or during religious ceremonies, emphasizing the importance of maintaining a connection with the divine in various aspects of life. The presence of such an inscription also reflects the broader trend of incorporating Christian themes into art and everyday objects, illustrating how Byzantine art and material culture were deeply intertwined with religious beliefs.
ITEM: Lidded boxMATERIAL: PotteryCULTURE: Chinese, Hoi An shipwreckPERIOD: 15th Century A.DDIMENSIONS: 33 mm x 55 mm diameterCONDITION: Good conditionPROVENANCE: Ex Butterfield & Butterfiel auction with oficial Hoy An Hoard labels.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Byzantine oil lamps, used widely from the early Byzantine period (circa 4th century CE) to the fall of the empire, were essential items for daily life, religious practices, and symbolic rituals. These lamps were typically made of clay, bronze, or occasionally glass, and fueled by olive oil, which was readily available in the Mediterranean. Byzantine lamps generally featured a closed, often circular body with a nozzle for the wick and a handle for easy transport. Many were decorated with Christian symbols, such as crosses, fish, and chi-rho monograms, reflecting the profound influence of Christianity in Byzantine culture. These lamps provided light in homes, churches, monasteries, and public buildings, illuminating both daily and sacred spaces within Byzantine society.The design and decoration of Byzantine oil lamps evolved over time, showing the influences of earlier Roman models as well as the rise of new artistic styles. Early Byzantine lamps retained Roman features, such as the use of terracotta and simple, functional forms. However, as Christianity became more established, the iconography shifted to incorporate Christian symbols, saints, and religious scenes. Some lamps were inscribed with prayers or invocations, which were thought to provide spiritual protection or blessings. Additionally, Byzantine lamps often bore intricate floral or geometric patterns that showcased the empire’s skilled craftsmanship. This decorative approach made Byzantine lamps not only functional lighting devices but also aesthetic objects that conveyed religious and cultural identity.Beyond their use as practical tools, Byzantine oil lamps had religious and symbolic significance. Oil lamps were used in churches to symbolize the presence of divine light and as offerings in Christian rituals, reflecting themes of enlightenment and spiritual guidance. They were also placed in tombs as part of burial rites, possibly to light the way for the deceased in the afterlife.
ITEM: CupMATERIAL: PotteryCULTURE: Chinese, Ca Mau shipwreckPERIOD: 18th Century A.DDIMENSIONS: 34 mm x 72 mm diameterCONDITION: Good conditionPROVENANCE: Ex Sotheby's, Amsterdam, Junuary 2007Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Ca Mau wreck, discovered off the southern coast of Vietnam near the Ca Mau Peninsula, is an important historical site linked to maritime trade in the early 18th century. In 1998, local fishermen accidentally discovered the wreckage, which led to extensive excavations by the Vietnamese government. The ship, believed to have been en route from Guangzhou to Batavia (modern-day Jakarta), sank around 1725 after a severe fire onboard. Over 130,000 artifacts were recovered, mostly Chinese porcelain, which provides insight into the global trade routes of the time.Artifacts from the wreck suggest it was part of the vast porcelain trade, which was a key aspect of inter-Asian and European commerce. The majority of the ceramics recovered were made in China, particularly from renowned production centers like Jingdezhen. This included blue-and-white porcelain, teacups, and various decorative items. The Ca Mau wreck is especially significant because it illustrates the growing demand for Chinese ceramics in Europe, particularly during the reign of the Yongzheng Emperor (1723–1735), a period when porcelain export reached new heights.The wreck's discovery has shed light on the broader historical context of Vietnam's role in maritime trade networks, especially as a key point in the movement of goods between East Asia and Europe. Additionally, this site has been crucial in understanding the complex interactions among the Dutch East India Company, private traders, and other international players during the 18th century.
ITEM: Oil lamp depicting a horseMATERIAL: PotteryCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 40 mm x 67 mm x 98 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman oil lamps were essential household items throughout the Roman Empire, serving as the primary source of illumination in homes, temples, and public spaces from around the 3rd century BCE through late antiquity. These lamps were typically made of clay or terracotta, though some luxurious versions were crafted in bronze or other metals for wealthier patrons. Designed with a small, shallow reservoir to hold oil—most commonly olive oil—and a spout for the wick, Roman oil lamps were simple yet effective in providing light after sunset. Their portability made them versatile for both indoor and outdoor use, from domestic activities to religious ceremonies.The designs of Roman oil lamps varied widely and often reflected the cultural, artistic, and religious values of their time. Simple lamps had minimal decoration and were purely utilitarian, while others were intricately decorated with motifs such as mythological scenes, animals, or gods and goddesses. Lamps featuring figures of deities like Venus, Mercury, or Bacchus were common and served as symbols of protection and blessing. Some lamps even depicted scenes from Roman life or famous gladiator battles, showing the influence of popular culture on everyday objects. The variety of decorative elements also highlights the skilled craftsmanship of Roman artisans, who often used molds to create detailed reliefs on the lamps’ surfaces.In addition to their practical use, Roman oil lamps held significant cultural and religious symbolism. They were frequently placed in graves and tombs as part of funerary customs, symbolizing light for the deceased in the afterlife. Oil lamps were also used in rituals and as offerings in temples, particularly in domestic cults where they served as an act of devotion to household gods or protective deities. Lamps have been discovered across the vast Roman Empire, from Britain to Egypt, providing valuable archaeological insights into daily life, trade networks, and religious practices.
ITEM: Scarab with nefer-sign flanked by bent papyrus stalksMATERIAL: SteatiteCULTURE: EgyptianPERIOD: Second Intermediate Period, 1700 - 1500 B.CDIMENSIONS: 14 mm x 10 mmCONDITION: Good conditionPROVENANCE: Ex American egyptologist collection, active in the early part of the 20th century, brought to the US with the family in 1954.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. The Egyptians saw the Egyptian scarab (Scarabaeus sacer) as a symbol of renewal and rebirth. The beetle was associated closely with the sun god because scarabs roll large balls of dung in which to lay their eggs, a behavior that the Egyptians thought resembled the progression of the sun through the sky from east to west. Its young were hatched from this ball, and this event was seen as an act of spontaneous self-creation, giving the beetle an even stronger association with the sun god’s creative force. The connection between the beetle and the sun was so close that the young sun god was thought to be reborn in the form of a winged scarab beetle every morning at sunrise. As this young sun god, known as Khepri, rose in the sky, he brought light and life to the land.Scarab amulets were used for their magical rejuvenating properties by both the living and the dead. Scarabs were used by living individuals as seals from the start of the Middle Kingdom (ca. 2055 BCE) onwards. The most common inscription for these scarabs was the owner’s name. The incised design was often a schematic combination of hieroglyphs and geometric patterning. Patterns could often denote the specific administrative office held by the wearer.Scarabs were also often rendered naturalistically in the round. The regenerative powers of scarabs of this nature could be used by either the living or the dead for healing and protection during quotidian activities or during a deceased person’s passage into the afterlife. The striking red/orange color of this amulet’s carnelian strengthens its solar associations.
ITEM: Oil lampMATERIAL: PotteryCULTURE: ByzantinePERIOD: 6th - 7th Century A.DDIMENSIONS: 50 mm x 80 mm x 100 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Byzantine oil lamps, commonly used between the 4th and 15th centuries AD, played a crucial role in illuminating homes, churches, and public spaces across the Byzantine Empire. Typically made from clay or metal, these lamps were designed with a shallow bowl to hold oil, and a spout for the wick, allowing for a controlled flame that provided steady light. Clay lamps were the most affordable and widely available, often made in simple molds for easy production, while wealthier individuals used bronze or brass lamps that could be highly decorative. The use of these lamps reflects the importance of artificial lighting in Byzantine daily life and religious practices, especially given the early Christian emphasis on light as a symbol of divine presence.Byzantine oil lamps often featured Christian iconography, reflecting the deeply religious character of Byzantine society. Designs included symbols such as crosses, fish, doves, and Chi-Rho monograms, each serving as a visual expression of faith. The lamps were sometimes inscribed with biblical phrases or prayers, believed to bring protection and blessings to the household. In religious settings, lamps were used in churches and monasteries to illuminate icons and altars, creating a sacred atmosphere that enhanced worship. For the Byzantines, light was not only practical but also imbued with spiritual significance, representing Christ as the “light of the world.” The religious motifs and inscriptions on these lamps were thus intended to remind users of their faith in everyday life.Archaeologically, Byzantine oil lamps have been found throughout the Mediterranean and Near East, highlighting the extensive reach and influence of Byzantine culture. Lamps were traded widely, with distinct regional styles reflecting local materials and artistic preferences, while still adhering to the overarching Byzantine aesthetic. Some lamps were produced in major centers such as Constantinople, while others were made in smaller workshops across the empire.
UNITED STATED 100 DOLLARS 1966 AND 1966A (RED SEAL) (4) Comprising: A 00002569 A, Plate A1, Signatures Granahan and Fowler, annotation to obverse and reverse, central fold, nicks to paper edge, toning to paper: A 00284438 A, Plate D1, Signatures Granahan and Fowler, annotation to obverse, central fold, occasional toning to paper and corner folds; A 00363696 A, Plate F1, Signatures Granahan and Fowler, central fold, toning to paper and 1966A A00839152 A, Plate A1, Signatures Elston and Kennedy, central fold and some light toning (4 total) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A PAIR OF LOUIS VUITTON MEN'S LEATHER BELTS Including a 'Savane' Monogram Chapman Ink White/Blue reversible belt; and a black 'LV' monogram betl 100cm both Condition: The belts exhibit light wear, including subtle creasing to the leather and minor scratches on the hardware. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A SERVICE OF CHRISTOFLE SILVER PLATED FLATWARE FOR TWELVE Oceana pattern, twelve place settings, housed in a fitted three tier canteen, comprising: Table knives; desert knives; table forks; desert forks; desert spoons; table spoons; fish knives; fish forks; pastry forks; tea spoons; coffee spoons; a carving knife and fork; a soup ladle; and 9 further serving pieces (144 pieces) The canteen 52cm wide Condition: Condition Report Some light signs of use throughout, but generally in very good condition This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A GROUP OF ART REFERENCE BOOKS (1) Including Henri Matisse, Gilles Néret, Taschen, 2002 Henri Matisse, Susan A. Sternau, Todtri. 1997 Joan Miro, Rosa Maria Mallet, Rizzoli, 1984 Paintings of the Western World - Post Impressionism, Ian Barras Hill, Galley Press, 1980 Master Drawings Rediscovered - Treasures from Pre War German Collections, Tatiana Ilatovskaya, 1996 Christie's Paris - Collection of Claude et Simone Dray (Art Deco), 8th June 2006 Antoni Gaudi - 1852-1926, Rainer Zerbst, Taschen 1993 Frank Stella in 20002, Singapore Tyler Print Institute, 2002 Pop Art, Tilman Osterwold, Taschen, 2007 Kandinsky, Ulrike Becks-Malorny Taschen, 2007 Chillida, Giovanni Carandente, Könemann, 1999 Joan Mitchell, Klaus Kertess, Abrams, ,1997 David Hamilton - Twenty Five Years of an Artist, L'Ariana Pictures Sarl, 1992 John Sexton - Quiet Light - Fifteen Years of Photographs, Bulfinch, 1990 Picasso - The Early Years, 1892-1906, National Gallery of Art, Washington, Yale, 1997 Pablo Picasso - 1881-1973, Part 1 The Works 1890-1936, Carsten-Peter Warncke, Ingo F. Walther, Taschen, 1997 (16 in total) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A PAIR OF BOTTEGA VENETA MEN'S LEATHER BELTS Featuring the signature intrecciato weave, matte gunmetal-tone buckles, and multiple eyelets 100cm (brown) and 105cm (black) Condition: Condition Report The belts show some signs of use with minor creasing to the leather and light surface wear This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
TWO SIMILAR ENGLISH GILT METAL CHANDELIERS Circa 1900, in the Arts and Crafts taste, of matching design, one five light and one four light example, the scroll branches with bird head terminals, etched glass shades with crimped rims Approximately 50cm high Condition: Condition Report Wear to the surface on both examples, loss of gilding; environmental wear, wiring appears to have significant age and would need replacing. Together with two extra shades of matching design. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
THE EAST INDIA CO. SHIP LORD LOWTHER LEAVING PRINCE OF WALES ISLAND (PENANG) 'This Plate of the Honble East India Company Ship Lord Lowther, Commanded by CHarles Steward Esq., Leaving the Harbour of Prince of Wales Island', Engraved by E.Duncan after William John Huggins (1781-1845), engraving with aquatint, published May 1st 1828 by Huggins 42 x 56cm, 64 cm x 76 cm including frame Condition: Condition Report Old original colour, sign of a small restoration in the upper central sky to the right of the top of the mast, some light fading to the colours This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A bright and memorable example of late Russian Art Nouveau, a silver cloisonne enamels snuff box - from the 6th Moscow artel. The snuff box has a discreet, octagonal shape and carries an impressive ensemble of geometric belts, floral and natural decorations. On the hinged lid there is a title picture of a fairy-tale flower-tree with fruits and berries that grew on the edge of an epic forest. In the corners it is surrounded by an ambivalent motif of a green wave from a dove-gray field, which, in the upper corners, personifies rainy skies and clouds, and in the lower register - the biosphere of lake and meadow grasses. The spiral pyramids of the central axis, above and below, bear the imprints of the elements of air and fertile earth. The sides of the body, in addition to the geometric belt of rhombuses and spirals, are decorated with alternating fields of fabulous flowering and water origin, the beginning and half a day of life. Corner cuts form dynamic, diagonal compositions on a light background. On the base of the snuff box there are Moscow hallmarks of 84 silver samples from 1908-1917, and mark 6 of the Moscow jewelry artel. On the inner edge of the edging there are a pair of imported French stamps. Swans in an oval. Dimensions: 2.5 x 8 x 6.6 cm. Total weight: 130.0 g. Width: 7.5cm, Height: 2.5cm, Depth: 6.3cm, Weight: 0.130kg, Condition: Good, Material: Silver 84, Cloisonne enamel, Gilding, ID: ID-ANTQ-8500
Rare for Russian art erotic plot from Ivan Sokolov - MORNING AFTER THE WEDDING. Depicts a scene of voyeurism behind a lad and a maiden in the hayloft. Their chaste discoveries captivate the longed-for curiosity of a passing boy. The figures of lovers, underlined by light, are given in Little Russian clothes. Bright blue harem pants, a red sash, a colorful skirt. With matching cap, hat and hairdo. Their figures of knowledge of erotic mechanics occupy a middle position between light and dark spots of clothes, symbolizing the masculine and feminine principles. Oil on canvas, on a new stretcher, after restoration. Dated 1876 and signed by I. Sokolov in the lower right corner of the picture. 45x63 cm. Ivan Ivanovich SOKOLOV (1823-1918). Width: 85cm, Height: 65cm, Depth: 10cm, Weight: 10kg, Condition: Earlier restoration, Material: Canvas, oil, ID: ID-ANTQ-7612
Still life Fruit in the style of Jan van Huysum. Fruit still life with flowers is a composition rich in allegory, unfolding diagonally, crosswise. In it, the root system of physicality, attraction, pleasures, their meaning in nuts and peaches is opposed to the Christian spirituality of the vine, with its struggle between dark and light. White simple flowers certify naive openness and purity. Red - thirst and transience of life, the frailty of being. Jan van Huysum (Dutch. Jan van Huysum; April 15, 1682, Amsterdam - February 8, 1749, Amsterdam) was a Dutch artist. 40x32 cm. Width: 32cm, Height: 40cm, Depth: 10cm, Weight: 3kg, Condition: Signs of wear commensurate with age, Material: Canvas, ID: ID-ANTQ-961
Ludolfs Liberts, an outstanding Latvian painter and stage designer, masterfully conveys the atmosphere of Paris in his work The Seine Embankment in Paris. The canvas is executed in the impressionist style, where every stroke of the brush reflects the vivid sensation of light and air so characteristic of this movement. In the foreground are bridges crossing the calm waters of the Seine, their smooth arches creating an elegant rhythm, smoothly directing the viewer`s gaze into the depths of the composition. On the river, ships are visible, slowly floating past, their dark silhouettes contrasting with the soft, blurred outlines of the city panorama. In the distance, among the chaotic scattering of roofs, the dome of the Pantheon rises majestically, and in the left part of the composition, the characteristic towers of Notre Dame Cathedral can be discerned. These architectural dominants create a recognizable image of the capital of France, filling the canvas with poetic melancholy. The painting demonstrates the artist’s exceptional sense of color and composition, attention to detail and ability to convey the emotional state of the moment. Signed by the artist in the lower left corner, this work is a striking example of Lieberts’ creative legacy and is evidence of his deep penetration into the atmosphere of the city, which inspired many masters. Cardboard, oil. Dimensions: 49.5 × 59.5 cm Provenance: Private American collection Width: 75cm, Height: 70cm, Depth: 8cm, Weight: 2kg, Condition: Good, Material: Oil on cardboard, ID: ID-ANTQ-11588
Beer cup, the holy Grail, in hammered silver with gilding, with Atlas on the hinged lid and carved religious scenes on a single piece of ivory on the body of the vessel. Includes scenes: the Fall, the sacrifices of Cain and Abel, the Transfiguration. Symbolizes deliverance from original sin and the salvation of the universe in divine light. The lid is decorated with Romanesque-Gothic ornaments with winged devils, hops and cornucopias. The margins and base of the mug bear a diamond-shaped design with half-figures of sea chimeras. The cast rocaille handle is equipped with a winged maiden and a shell-shaped finger rest. It is interesting that among the geographical names on the globe Riga is indicated, probably as a Hanseatic city in solidarity with Lübeck. On the basis of the product there are marks: probably from the 17th century, Lübeck - a double-headed eagle in a circle, a rectangular 13 lot mark and wood in a hexagonal shield - possibly the mark of the master. Height 23 cm. Total weight: 685 g. CITES Bone Certificate No. BA-S-0332023. Width: 18cm, Height: 23cm, Depth: 12.5cm, Weight: 1.5kg, Condition: Good, Material: Ivory, ID: ID-ANTQ-8563
Ludolfs Liberts, an outstanding Latvian artist and stage designer, masterfully conveys the unique atmosphere of Paris in his work Embankment of the Seine in Paris. Painted in an impressionist manner, the painting is filled with light and air, conveying a vivid sense of lightness and ephemerality. In the foreground is a bridge over the Seine, along the banks of which brightly lit barges rest. Their warm, rich tones create a contrast with the cool tones of the water and sky, attracting the viewer`s attention. The composition of the work is skillfully balanced. The movement of the carriages on the bridge adds dynamics, while the majestic silhouette of Notre Dame Cathedral and the slender spires of churches in the background lend the landscape poetic calm and eternity. These architectural landmarks serve as a reminder of the rich cultural heritage of the French capital, highlighting the characteristic silhouette of the city. The painting demonstrates the artist’s brilliant mastery of color palette and compositional techniques, attention to detail and the ability to convey the emotional state of a fleeting moment. Signed by the artist in the lower right corner, this work is a fine example of Lieberts’ creative legacy. It testifies to his ability to deeply penetrate the atmosphere of the city that has inspired artists for centuries. Cardboard, oil. Dimensions: 49.5 × 59.5 cm Provenance: Private American collection Width: 75cm, Height: 70cm, Depth: 8cm, Weight: 2kg, Condition: Signs of wear commensurate with age, Material: Oil on cardboard, ID: ID-ANTQ-11589
This exquisite gold snuff box is an example of outstanding jewellery art of the second quarter of the 19th century. The product was made in the form of a cartouche by master Charles Colin of the jewellery company «Charles Colins Söhne», one of the leading firms of that time. The surface of the snuff box is covered with elegant engraving and carving on gold, which emphasizes the craftsmanship of the creator and attention to detail. The lid and the back of the product are decorated with the guilloche technique, which gives the surface a special play of light and texture. In the center of the lid there is a cartouche with a floral ornament, surrounded by a scroll frieze, creating a sense of harmony and completeness of the composition. The embossed frame of flowers and foliage complements the decorative design of the snuff box, emphasizing its refined aesthetics. The product has hallmarks: the letters «CCS» in a rhombus, corresponding to the goldsmith Charles Colin, as well as the hallmark «HANAU», indicating the place of manufacture. The snuffbox measures 2.8 x 6.7 x 4.5 cm and weighs 64.9 g.Historical background: The jewellery company Charles Colins Söhne, founded in Hanau, was one of the leading family firms specialising in the production of gold jewellery in the 19th century. The high quality of its products was repeatedly recognised by the royal courts of Europe, which commissioned items for state gifts during diplomatic visits. The southern German city of Hanau was famous in the second half of the 18th century as one of the main centres for the production of small jewellery items (Galanteriewaren), the quality of which was so high that Johann Wolfgang von Goethe noted that it was superior to the quality of items created in Geneva or Paris at that time. Width: 6.7cm, Height: 4.5cm, Depth: 2.8cm, Weight: 0.065kg, Condition: Good, with traces of use, Material: Gold, ID: ID-ANTQ-11191
This impressive painting attributed to Felix Ziem (1821-1911) is an outstanding example of mastery and deep passion for architectural landscapes. The composition centers on the majestic Doge`s Palace, surrounded by architectural elements that are exquisitely decorative and in the typical Venetian style. In the foreground of the painting are the two iconic columns of the Piazzetta that lead to St. Mark`s Square. The eastern column is topped by a bronze statue of a winged lion, symbolizing St. Mark, the patron saint of the city. The western column is topped by a marble statue of St. Theodore, the founder of Venice. These architectural masterpieces highlight the cultural and historical wealth of Venice, being important elements of its unique urban landscape. The front of the painting attracts the viewer`s attention with a boat with seated passengers in bright clothes and a gondolier skillfully managing an oar, which emphasizes the liveliness and dynamism of the scene. The author, following the traditions of the Barbizon school, uses a bright palette and special attention to light, creating a contrast between the warm shades of the buildings and the deep blue sky. This technique not only conveys the architectural beauty, but also gives the painting expressiveness and atmosphere. This painting is one of a series of works created by the author after an inspiring trip to Venice, where every stroke and color conveys his admiration for this city. The painting demonstrates painting techniques that anticipate elements of impressionism, which makes it a valuable testimony to the artistic development of its time. The painting is enclosed in an exquisite gilded frame emphasizing the grandeur of this work. Dimensions of the painting: 55.5 cm x 38.5 cm. Canvas, oil. Width: 69cm, Height: 52cm, Depth: 10cm, Weight: 10kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11559
The superb landscape River Bank in Winter by Boris Bessonov transports the viewer to the enchanted world of winter nature, filled with an atmosphere of cold and silence. Nature here is frozen in the moment, shrouded in a blanket of soft snow, which shimmers with pink reflections of the setting sun. The light of this warm evening sun heralds the end of winter, adding a special emotional depth to the painting. The main focus of the work is the river, calmly flowing among the snow-covered banks. Its surface, like a mirror, reflects the slender firs that rise above the water like majestic giants, filled with power and tranquility. The snow covering their branches creates a feeling of a winter dream of nature, in which every movement seems to be slowed down by the frosty air. The sky, painted in soft blue, pink and grey tones, adds a sense of approaching spring, promising the imminent awakening of nature. This work by Bessonov enchants with its realism and masterful use of light and colour. The artist managed to convey not only the winter beauty, but also the subtle transition from cold to warm, from winter to spring. The painting evokes feelings of peace and tranquility, recalling the cyclical nature of time and the eternal harmony of nature. Boris Bessonov (1862–1934) Oil on canvas. Dimensions: 63 cm x 80 cm. First half of the 20th century. Provenance: Rayner MacConnell, Bond Street, London Width: 100cm, Height: 85cm, Depth: 10cm, Weight: 10kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11254
This majestic and romantic work by Russian artist Yuli Yulievich Klever takes the viewer into the mysterious world of a winter sunset, saturated with a poetic atmosphere. The painting created by the author enchants with its expressiveness and richness, conveying the magic of a pre-sunset snowy evening.The central element of the composition is the golden-orange glow of the setting sun, which envelops the winter landscape and fills it with magic. Magnificent golden distances and fiery reflections of the sunset contrast with the silhouette of a lonely hut and the delicate lace of purple snow. Light, symbolizing life and hope, breaks through the clouds, penetrates the winter forest and is reflected on the surface of a thawed stream. Orange-golden rays gently envelop the forest space, warming the silent distance and snowy branches of the fir trees. The warm glow of the sunset illuminates the tree trunks, creating piercing reflections on the water and giving the whole scene a picturesque trepidation. Every detail of the landscape, from the gray snow to the majestic fir trees, is depicted with a deep sense of love and attention to nature, forming a unique poetic image. The gloomy forest is filled with light, giving the viewer a feeling of hope and confidence in the future, emphasizing the philosophical thought of the fleetingness of time and the inevitability of change. Oil on canvas measuring 122.5 x 96.5 cm is enclosed in a wide gilded frame, emphasizing its magnificence. In the lower right corner, the author`s signature of Y. Klever and the date 1912 are visible, testifying to the high skill and talent of the artist. Width: 131cm, Height: 158cm, Depth: 15cm, Weight: 30kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11174
The painting, executed in the manner of Marinus van Reymerswaele, depicts two tax collectors with grotesque faces, sitting at a table in clothes typical of the 15th century. The character closest to the viewer, dressed in a black turban and pince-nez, with a concentrated expression on his face, writes text in a book reminding tax evaders of their obligations before the law. The second collector, in a dark blue turban and red caftan, looking meaningfully at the viewer, points his hand to this text, clutching an empty coin purse in the other hand, emphasizing the need to replenish the treasury. The collectors` clothes stand out against the background of the interior, indicating the status and class of the characters . The faces depicted by the author emphasize the satirical meaning of the picture, hinting at human greed and stinginess. In this plot, the master created a grandiose satirical image of predatory financial capitalism, which arose in the light of the economic and cultural boom in Antwerp in the 16th century, which actually turned the once small Flemish city into the financial center of the world. According to experts, the recognizable scene of two misers was borrowed and recreated in many variations by the artist Marinus van Reimerswaele from the great Flemish author Quentin Massys. This plot was one of the most popular and recognizable in Europe during the period of the 16th - 17th centuries. Similar works adorned royal collections as well as collections of aristocrats and nobility of the time. Nowadays, Marinus van Reimerswaele`s works on the theme of Tax Collectors are part of the exhibition of museums around the world, including the Louvre in Paris, the National Gallery in London and the Prado Museum in Madrid. The recognizable plot is located in Windsor Castle, in the king’s personal chambers, as well as in the Royal Collection of Liechtenstein. One of the paintings of Tax Collector attributed to Marinus van Reimerswaal is included in the collection of the State Hermitage Museum in St. Petersburg, acquired from the heirs of the first Prime Minister of England Sir Robert Walpole at the end of the 18th century by the Russian Empress Catherine II. Follower of Marinus van Reymerswaele (Marinus van Reymerswaele) 1493-1567 Period: Turn of the 17th-18th century. Material: Canvas, oil, duplicated canvas. Canvas dimensions: 117 x 97 cm. Width: 116cm, Height: 136.5cm, Depth: 10cm, Weight: 12kg, Condition: Signs of wear commensurate with age, Material: Canvas, oil, ID: ID-ANTQ-11145
A captivating elegy about spring realism, the last quarter of the 19th century. An exquisite still life that immerses the viewer in the world of spring realism. The canvas skillfully focuses attention on the colors of spring, playing in the embrace of light and shadow. Particular attention is paid to lighting effects, which allows one to reveal a subtle and multifaceted chord of lilac-blue, azure and yellow-brown tones. The artist demonstrates courage in choosing complex angles, organically fitting them into the picturesque depth of the light-air environment. This tremulous and flaming world lives the gentle life of lilac, creating a unique atmosphere on canvas. Artist`s signature: bottom right Leonine MATHA. Materials: Canvas, oil. Dimensions: 46 x 38 cm Width: 63cm, Height: 55cm, Depth: 10cm, Weight: 6kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11181
RENAULT Fernand Albert (1887-1939). Couple in love. It represents a symbiosis of classical themes, Fauvian technique and impressionistic relationships in the painting of neo-traditionalism of the 1930s. A monumental painting depicting a naked couple under the shade of trees against the backdrop of bridling horses not far from the sea. A couple in love, like Adam and Eve, talk with interest and study each other, as if getting used to each other. They are contrasted by skin color and light. She, under the spotlights of the sun, is white, voluminous and alluring. He is tanned in the shade, strong and brutal. With a look, a gesture, the enthusiasm of youth, he turns to her. The basis of their bed is made up of bright fabrics laid out on the ground. In them, scarlet spots complement the picturesque green foliage. The pastoral relaxation of the couple contrasts with the active background, where they throw a bridle on the horses. Which symbolically anticipates the young man’s luck in love. However, the topic is broader. They demonstrate the metaphysics of the mystery of the meeting and coexistence of the sexes. Authors signature lower right. Canvas, oil. 99Х132 cm. Width: 163cm, Height: 128cm, Depth: 7cm, Weight: 25kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-8263
Indian Badges Glengarry Badges of: Royal Bengal Fusiliers (2) Royal Bombay Fusiliers, Bengal Fusiliers, Royal Madras Fusiliers, Bengal Infantry, Madras Infantry, Bombay Light Infantry, Madras Light Infantry. Shako Plates of: Bengal Infantry, and Madras Infantry. Good Condition. Lugs in tact. Provenance: A Large Private Single Owner Collection Curated Over Many Years. CONDITION: Good Condition
Yorkshire Badges. Yorkshire ( The Princess of Wales Own Regiment) 1 helmet Plate, 1 Glengarry Badge and 2 Cap Badges, 15th Foot Regiment ! Shako Plate and 3 Glengarry Badges (East York Regiment), 19th Foot Shako Plate plus Glengarry Badge, 84th Foot Shako Plate and Glengarry Badge, The York and Lancs Helmet Plate, Kings Own Light Infantry West Riding Helmet Plate plus 2 Glengarries and 51st Foot Shako Plate and Glengarry Badge Condition Good. Lugs in tact. Provenance: A Large Private Single Owner Collection Curated Over Many Years. Good Condition
Mixed Badges Royal Malta Militia Helmet Plate, (2) Lanarkshire Rifle Volunteers Badges, (2) Carlow? Rifle Badges, Queens Own Light Infantry Glengarry Badge, South Mayo Rifles cap Badge, Oxfordshire Rifle Volunteers Cap Badge (cast), Tank Helmet Plate (cast), Royal South Wales Militia Badge, plus 1 other Good Condition. Lugs in tact Provenance: A Large Private Single Owner Collection Curated Over Many Years. CONDITION: Good Condition
4 Glengarry Plate Centres. Lugs in tact. Good Condition. Royal Jersey Light Infantry (Victorian Crown), Royal Guernsey Light Infantry, and Royal Guernsey Light Infantry Helmet Plate Centre and Royal Jersey Light Infantry Helmet Plate, 2 Honourable Artillery Company Helmet Plates, plus Glengarry Badge, and Royal Artillery Plume Holder, Royal Artillery Association Badge. CONDITION: Good Condition.
Shako Plates and Glengarry Badges Shako Plate of 71st, 73rd, 75th Foot, Glengarry Badges: (4) 93rd Foot (Sutherland Highlanders), (3) 78th Foot Highland Regiment, (2)73rd Foot Perthshire Regiment, (4) 71st Foot Highland Light Infantry Good Condition. Lugs in tact. Provenance: A Large Private Single Owner Collection Curated Over Many Years. CONDITION: Good Condition.
Helmet Plates Victorian Yorkshire Light Infantry(Brass), Durham First Volunteer Battalion, Duke of Edinburgh Royal Regiment (Berkshire & Wiltshire), and one blank Victorian Helmet Plate. Good Condition. Lugs in tact. Provenance: A Large Private Single Owner Collection Curated Over Many Years. CONDITION: Good Condition.
20 Assorted Badges Scottish Sah Badge, Cameronians Cap Badges, Gurka Rifles Helmet Plate, Royal Irish Regiment Helmet Plate, 4 South African Badges 1900-1902 GRV, Highland Light Infantry, Royal Scots Dragoon Guards Badges Good Condition Provenance: A Large Private Single Owner Collection Curated Over Many Years. CONDITION: Good Condition
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