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Lot 65
The Swordfish Attack at Taranto, print mounted on hardboard, Universal Promotions, 1979, signed in pencil by Commander Charles Lamb and Vice Admiral Richard Janvrin, 44cm x 59, Spitfire, signed by Captain Douglas Bader and Vice Marshal Johnnie Johnson, 44 x 57, Lancaster, signed by Captain Leonard Cheshire, 46 x 58, and Hurricane, signed by Wing Commander R. R. Stanford Tuck, 45 x 57, together with five smaller prints. (9)
Lot 613
1849 Trebnitz, Schlesien - 1927 München Verlassene Ruine in der Weite der Wüste bei Assuan, Ägypten. Malgrund nicht ersichtlich, vermutlich Öl auf dünner Holzplatte, Craquelé, l. u. bezeichnet und r. u. signiert. Hinter Glas gerahmt, Rahmen mehrfach bestoßen. Rahmenmaße 45 x 58 cm, Bildmaße ca. 25 x 36 cm.
Lot 10002
Jagdlicher Yatagan, deutsch/Österreich, 2.Hälfte 18. Jhdt. Osmanische Beuteklinge mit quartseitig graviertem sechszackigen Stern zwischen Rankenornament. Fein punzierte Zwinge aus Silber. Die Griffschalen aus dunklem Horn mit drei floral verzierten Silbernieten. Mit lackiertem Leder bezogene Scheide aus Holz (berieben), die drei floral punzierten Silberbeschläge rückseitig jeweils punziert "R" und "GM". Länge 80 cm. A German/Austrian hunting yatagan, 2nd half of the 18th century A German/Austrian hunting yatagan, 2nd half of the 18th century Osmanische Beuteklinge mit quartseitig graviertem sechszackigen Stern zwischen Rankenornament. Fein punzierte Zwinge aus Silber. Die Griffschalen aus dunklem Horn mit drei floral verzierten Silbernieten. Mit lackiertem Leder bezogene Scheide aus Holz (berieben), die drei floral punzierten Silberbeschläge rückseitig jeweils punziert "R" und "GM". Länge 80 cm. Condition: II -
Lot 125
ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919-1970) CANTEEN Signed, watercolour 28cm x 38cm (11in x 15in) Literature: Andrew, Patricia R., A Chasm in Time: Scottish War Art and Artists in the Twentieth, Birlinn Ltd., Edinburgh, 2014, ill. second frontispiece and p.151. Andrew writes ‘Like many of his watercolours of the War, this shows humans within a wooded landscape. In the foreground is a burnt-out tracked vehicle, with shattered trees in a roped-off area labelled ’Mines'. Beyond, civilisation is present in the form of a ‘Scottish Churches Huts’ mobile canteen, clean and undamaged, providing bodily and spiritual sustenance to the troops.'
Lot 128
EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE GEISHA GIRL Signed and dated '94, oil on canvas 33cm x 28cm (13in x 11in) Visitors to late-19th-century Japan resided in designated European ‘Concession’ areas, segregated from natives. This frustrated the ambitions of the young Glasgow painters Edward Atkinson Hornel and George Henry, who had voyaged to Japan in February 1893 eager to ‘see and study the environment out of which [Japan’s] great art sprung, to become personally in touch with the people, to live their life, and discover the source of their inspiration.’ Buchanan, W., Mr Henry and Mr Hornel Visit Japan, exh. cat., Glasgow Art Gallery 1978, p.9) The intrepid artists had no option but to take to the streets of Tokyo, Nagasaki and Yokohama armed only with a keen eye for authentic detail and drawing materials with which to note them down (see Billcliffe, R., The Glasgow Boys, Frances Lincoln, London, 2008, p.259). Hornel’s Japanese canvases retain the immediacy of a sketch. He frequented the tearooms in Tokyo’s Shinbashi quarter, recording the particulars of a geisha’s posture, the design of a kimono or the pattern of a painted screen. However, contrary to the Glasgow Boys’ propensity for naturalistic en plein air composition, Hornel re-configured these observed components to highly decorative effect. Japan intensified his surface texture and colouration, and he renders the titular Geisha Girl with the same attention he affords the pattern and tonal values of the painted screen behind her, so that the foreground and background infuse into a single shimmering decorative plane. The Geisha Girl’s warm jewel tones are characteristic of Hornel’s early works; as he matured his palette cooled, giving way to fresh, airy blues and greens such as those in Blossom-Time, Sailing the Toy Boat or A Woodland Elf also presented here. The Geisha Girl dates to 1894 and was either painted while Hornel was still in Japan or shortly after he had returned to Scotland. Its date makes possible its inclusion in the artist’s lauded exhibition of around 40 Japanese pictures held in April 1895 at Alexander Reid’s gallery in Glasgow. Owing to Hornel’s habit of neglecting to title his work, and the absence of a surviving catalogue, few details about this show survive. However, it is known that it was a runaway success, and that almost every picture sold. (Buchanan, W., op.cit., p.13)It was the popularity of Japanese art in Glasgow that had inspired Henry and Hornel to make the extraordinary voyage to the other side of the world. Through Hornel’s acute observation and Henry’s contact with Japanese exemplars, both artists achieved their objective of better understanding the society that had produced the prints and designs they had so admired in Scotland. Japan had enriched each artists’ output indelibly.
Lot 129
GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) GEISHAS IN A GARDEN Signed, watercolour 55cm x 34cm (21.5in x 13.5in) Visitors to late-19th-century Japan resided in designated European ‘Concession’ areas, segregated from natives. This frustrated the ambitions of the young Glasgow painters Edward Atkinson Hornel and George Henry, who had voyaged to Japan in February 1893 eager to ‘see and study the environment out of which [Japan’s] great art sprung, to become personally in touch with the people, to live their life, and discover the source of their inspiration.’ Buchanan, W., Mr Henry and Mr Hornel Visit Japan, exh. cat., Glasgow Art Gallery 1978, p.9) The intrepid artists had no option but to take to the streets of Tokyo, Nagasaki and Yokohama armed only with a keen eye for authentic detail and drawing materials with which to note them down (see Billcliffe, R., The Glasgow Boys, Frances Lincoln, London, 2008, p.259). When the unfortunate George Henry unpacked his canvases upon his return from Japan to Glasgow he found that they were stuck together or irreparably cracked, and much of his Japanese output in oil was lost. This was an enormous blow to Henry’s morale, and although a large volume of his Japanese watercolours had survived the homeward journey it took time before he could bear to look at them. Happily, their eventual review proved rewarding. The Geisha Garden exemplifies the highly-effective clarification of line and design that Henry developed while in Japan. This was undoubtably informed by the formal qualities of contemporary Japanese art. As Roger Billcliffe observed, Henry used watercolour to ‘easily emulate the tones and colours of Japanese prints’, and these exemplars can also be connected to The Geisha Garden’s use of essentialised forms and ‘stacked perspective. (Billcliffe, R, op.cit., pp.259-262)It was the popularity of Japanese art in Glasgow that had inspired Henry and Hornel to make the extraordinary voyage to the other side of the world. Through Hornel’s acute observation and Henry’s contact with Japanese exemplars, both artists achieved their objective of better understanding the society that had produced the prints and designs they had so admired in Scotland. Japan had enriched each artists’ output indelibly.
Lot 91
A Greek bronze Corinthian helmetCirca late 7th Century B.C.24cm highFootnotes:Provenance:Otto Heck collection, Bonlanden, Germany.Kuizenga collection, the Netherlands, acquired from the above 10th April 1975.The style of the above helmet belongs to the Myros type, from mainland Greece. Another similar helmet was found near the west stadium wall at Olympia in 1940, now in the Olympia Archaeological Museum, inv. no. B2192; see R. Hixenbaugh, Ancient Greek Helmets, New York, 2019, p. 384, no. C329, and for examples of the Myros type see ibid pp.379-388, figs. C291-C361.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 10
An Egyptian pink granite sarcophagus fragment with the head of Anubis or WepwawetNew Kingdom, circa 1550-1069 B.C.24cm high, 20cm wide, 8cm deepFootnotes:Provenance:J.R. Norman collection, early 20th Century (old label affixed to piece).Resandro collection, Europe, primarily formed late 1960s-1997 (R-247).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.69, no. R-247.The jackal-headed god depicted here is likely either Anubis or Wepwawet. Canine deities were a central feature of Egyptian religion from the Predynastic Period onwards; Wepwawet is already depicted on one of the standards preceding the Pharaoh on the Narmer Palette, and is attested by name from the 3rd Dynasty. Jackal-headed gods were primarily associated with the afterlife. Before the rise of Osiris, Anubis was the most important funerary god, and in funerary texts Wepwawet led the deceased through the afterlife in his role as 'Opener-of-the-Ways' (R.H. Wilkinson, The Complete Gods and Goddesses of Ancient Egypt, London, 2003, pp. 186-192). The J.R. Norman named on the old collection label may refer to the Mr J.R. Norman (1898-1944) who was an Assistant Keeper of Zoology at the British Museum (now the Natural History Museum), ichthyologist, and author; he was close friends with, and wrote a biography of, Dr Charles Davies Sherborn, another noted academic closely affiliated with the Natural History Museum and a prolific collector of a wide array of objects, including Egyptian antiquities.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 12
An Egyptian wood coffin maskThird Intermediate Period, circa 1069-656 B.C.24cm highFootnotes:Provenance:Resandro collection, Europe, primarily formed late 1960s-1997 (R-364).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.98, no. R-364.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 15
An Egyptian indurated limestone head of an officialLate Period, circa 664-332 B.C.4.5cm highFootnotes:Provenance:Reputedly Dr Rudolph Schmidt (1900-1970) collection, Solothurn.with Jock Francken, Munich.Resandro collection, Europe, acquired 15 May 1980 from the above (R-043 (HP 7)).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.18, no. R-043.This archaising head is inspired by the Old Kingdom style of reserve heads, with idealised and yet naturalistic features. There is a statue of a Theban Priest in the Brooklyn Museum, acc. no. 07.494, depicted without a wig, with short natural hair that resembles a close-fitting cap. Cf B.v. Bothmer, Egyptian Sculpture of the Late Period, Brooklyn Museum, 1973, pp. 10-11, pl. 9, and for the head of Wen-nufer with similar features, see pl. 67, no.173 and pp. 86-87.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 90
A Greek bronze Corinthian helmet with silver rivetsCirca 7th-6th Century B.C.24cm highFootnotes:Provenance:Kuizenga collection, the Netherlands, acquired in Cologne 10th September 1979.Borders of rivets were used to secure the helmet liner to the outer surface, though most Corinthian helmets survive with only the attachment holes remaining. There is a helmet in the British Museum also retaining its original rivets, museum no. 1867, 0508.205, illustrated in R. Hixenbaugh, Ancient Greek Helmets: A Complete Guide and Catalog, New York, 2019, p.408, C525.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 117
An Egyptian bronze striding WadjetLate Period, circa 664-332 B.C.25cm highFootnotes:Provenance:Reputedly discovered in 1886 during Sir W.M. Flinders Petrie's (1853-1942) excavations at Tell Nebesha.Reputedly in the collection of Gaston Maspero (1846-1916), Paris; and thence by descent. with Khodary M. El Gabry, Cairo.Private collection, Scotland; and thence by descent to Mr R. G.with Dr. H. Ruf, Florida.Private collection, Rotterdam, acquired from the above 28 July 2019.Though most frequently depicted as a serpent goddess, Wadjet is seen here as a lion-headed woman, in similar guise to Bastet or Sekhmet. Such leonine forms of the protectress of Lower Egypt are closely connected with the Eye of Ra; this association is emphasised by the sun-disc worn atop her head. For a similar striding Wadjet, holding a now-lost sceptre, see the Los Angeles County Museum of Art, Los Angeles, acc. no. 50.37.14.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1
An Egyptian limestone bowlPredynastic Period-Early Dynastic Period, circa 3000-2600 B.C.11.5cm high, 21cm diam.Footnotes:Provenance:with Heinz Herzer, Munich. Resandro collection, Europe, acquired from the above 31 October 1990 (R-014). Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.11, no. R-014.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 22
A small Egyptian bronze striding ibis and an Egyptian amuletic bronze figure of WepwawetLate Period-Ptolemaic Period, circa 664-30 B.C.5.5cm high, 5.2cm high (2)Footnotes:Provenance:Ibis: Resandro collection, Europe, acquired prior to 1987 (listed on a 1987 loan document) (R-725 (HB 37)).Wepwawet: Mr. and Mrs. Carl Tautenhahn collection, Houston, TX. Resandro collection, Europe, acquired from Ronald and Noele Mele, New York, 29 September 1992 (recorded in 'Catalogue Supplement 30 July 1993' list (cat. 20a)) (R-461).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.223, no. R-725 and p.157, no. R-461.For another example of a bronze statuette of the god Wepwawet, the 'Opener-of-the Ways', see P. Germond, An Egyptian Bestiary, London, 2001, p.160, pl.199. See also a similar example of a Wepwawet amnulet with uraei, at the Michael C. Carlos Museum, Atlanta, acc. no. 2018.010.955.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 2
An Egyptian limestone relief fragment with hieroglyphic inscriptionOld Kingdom, circa 2323-2150 B.C. or Archaising Late Period, circa 775-653 B.C.With three rows of text, the top row preserving the symbol for 'my', and a pair of unidentifiable human feet; the middle row with 'i', and a clenched fist, representing the determinative 'mi'; and the lower row with a bird sign, perhaps a neh bird or rekhyt bird, some of the text with signs of red coloured correction and red and black pigment preserved, 15cm highFootnotes:Provenance:Resandro collection, Europe, primarily formed late 1960s-1997 (R-044).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.18, no. R-044.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 65
A Roman marble sarcophagus panel of DionysusCirca late 2nd-early 3rd Century A.D.32cm x 25cmFootnotes:Provenance:Private collection, Buckinghamshire, discovered during renovation work in their garden around 10 years ago.There is a sarcophagus corner panel in the Villa Doria Pamphili with a similar head of Dionysus, portrayed with curling hair, adorned with grape vines and flanked by a wine making scene of erotes harvesting grapes, cf. R. Calza, Antichità di Villa Doria Pamphilj, Rome, 1977, p. 249, no. 304, pl. CLXIII.For further information on this lot please visit Bonhams.com
Lot 13
An Egyptian bronze cow-headed goddess, likely HathorLate Period, circa 664-332 B.C.12.5cm high Footnotes:Provenance:with Ron and Noele Mele, New York.Resandro collection, Europe, primarily formed late 1960s-1997 (R-470).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.159, no. R-470.The goddess depicted here is most likely Hathor, though the lack of cow's horns or an identifying inscription means that this is not certain. Hathor was revered as one of the greatest and most powerful goddesses. The goddess carries an ankh in her lowered right hand, and her head is surmounted by a moon disc resting on the crescent moon, which could invoke her function as the personification of the night sky (see R.H. Wilkinson, The Complete Gods and Goddesses of Ancient Egypt, London, 2003, p. 140). Amongst her many functions, Hathor was 'often described as the 'beautiful one' and was inextricably associated with love, and female sexuality as well as with motherhood' (ibid., p. 141). As such, she played the role of mother or wife of the king, and was closely associated with royal wives from the New Kingdom onwards.Cf. another bronze statuette of cow-headed Hathor in the Brooklyn Museum, acc. no. 37.356E.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 9
An Egyptian limestone relief fragment with a face in profileNew Kingdom, 18th Dynasty, Amarna Period, reign of Akhenaten, circa 1351-1334 B.C.7.1cm high, 8.3cm wideFootnotes:Provenance:Resandro collection, Europe, primarily formed late 1960s-1997 (R-128).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.39, no. R-128.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 24
An Egyptian ophicalcite bust of a goddessLate Period, 25th-26th Dynasty, circa 700-600 B.C.6cm high Footnotes:Provenance:Lord McAlpine collection.Resandro collection, Europe, acquired in London on 24 December 1983 (R-416 (HP 27)).Published:S. Schoske and D. Wildung, Gott und Götter im Alten Ägypten, 1992, Mainz am Rhein, 1992, p.56, no. 35.I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.145, no. R-416.Exhibited:Berlin, Ägyptisches Museum und Papyrussammlung; Berlin, Staatliche Museen zu Berlin; Munich, Staatliche Sammlung Ägyptischer Kunst Munchen; Hamburg, Museum für Kunst und Gewerbe Hamburg, Gott und Götter im Alten Ägypten, 1992-1993.The complete statuette depicted a goddess, probably Isis, seated on a throne. The drilled hole on the front of the wig was for the attachment of an uraeus, while the flattened head had a seperately-made headdress, both probably in metal. For another very similar bust of Isis with the same drilling for insertion of uraeus and headdress, see the Cincinnati Art Museum, Cincinnati, acc. no. 1947.383; the headdress would have been formed of a solar disc between bovine horns.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 11
An Egyptian red quartzite male head of a statueNew Kingdom, 18th Dynasty, circa 1550-1292 B.C.13.5cm high Footnotes:Provenance:Resandro collection, Europe, primarily formed late 1960s-1997 (R-110, HP 32).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.35, no. R-110.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 35
An Attic red-figure pelikeAttributed to the Pan Painter, circa 460 B.C. 18.7cm highFootnotes:Provenance:Raphaël Collin (1850-1916) collection, Paris.The Senator William A. Clark (1839-1925) Collection, acquired from the above in 1911. Bequeathed to the Corcoran Gallery of Art, Washington D.C., 1925. Deaccessioned and gifted to the American University Museum at the Katzen Arts Center, Washington D.C., 2014.with Sands of Time Ancient Art, Washington D.C., 2021. Published: R. Collin, Collection of Antique Grecian, Egyptian and Etruscan Statuettes, Vases, Tanagras, Etc., Paris, 1911, p. 26, no. 180.Original Clark Catalog, Part II, p. 250, no. 180. The Illustrated Handbook of the W.A. Clark Collection, The Corcoran Gallery of Art, Washington D.C., 1928, p. 123, no. 2682 (and in the 1932 edition of the same name).Exhibited: Corcoran Gallery of Art, Washington D.C., 'The William A. Clark Collection,' 26 April-16 July 1978.'The William A. Clark Collection; Treasures of a Copper King,' Yellowstone Art Center, Billings, Montana: May 6 - July 30, 1989; and Montana Historical Society, Helene, Montana: August 15 - October 7, 1989.Side A with two robed ephebes leaning on walking sticks; side B with another standing robed ephebe, with a walking stick. Beazley recognised the Pan Painter as a pupil of Myson, 'a mannerist, and connected with the earlier members of the Mannerist Group, but far above them: an exquisite artist' (Attic Red-figure Vase Painters, Oxford, vol. 1, 1984, p. 550). Cf. another Pan Painter pelike in the British Museum, London, acc. no. 1814,0704.497, depicting two dancing maenads on side A, with a similar spotted upper border and band of meander below the scene.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 16
A small Egyptian steatite theophorous figure, holding a seated statuette of ImhotepLate Period, 27th-30th Dynasty, circa 525-332 B.C.9.5cm highFootnotes:Provenance:Ernest Brummer (1891-1964) collection, Paris.The Ernest Brummer Collection of Egyptian & Near Eastern Antiquities and Works of Art; Sotheby's, London, 16-17 November 1964, lot 93.The Ernest Brummer Collection, Vol. II; Spink & Son and Galerie Koller, Zurich, 16-19 October 1979, lot 522. Resandro collection, Europe, acquired at the above sale (R-414 (HP 6)).Published:D. Wildung, Imhotep und Amenhotep, Gottwerdung im alten Ägypten, Münchner Ägyptologische Studien (MÄS) 36, Berlin, Munich, 1977, p.40, no. 18, pl. 4,3.S. Schoske and D. Wildung, Entdeckungen, Ägyptische Kunst in Süddeutschland, Munich, 1985, p.125, p.128, no. 107.S. Schoske and D. Wildung, Gott und Götter im Alten Ägypten, 1992, Mainz am Rhein, 1992, pp.188-189, no. 122.I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.145, no. R-414.Exhibited:Munich, Staatliche Sammlung Ägypischer Kunst, Entdeckungen, Ägyptische Kunst in Süddeutschland, 30 August-6 October 1985.Berlin, Ägyptisches Museum und Papyrussammlung; Berlin, Staatliche Museen zu Berlin; Munich, Staatliche Sammlung Ägyptischer Kunst Munchen; Hamburg, Museum für Kunst und Gewerbe Hamburg, Gott und Götter im Alten Ägypten, 1992-1993.The term 'theophorous', 'god bearer' in Greek, is used to describe a sculpture in which the subject carries a small figure of a deity, indicating the dedicant's reverence for, or personal relationship with, the god. Here, the male figure, who wears an animal skin across one shoulder, presents a seated statuette of the god Imhotep, as identifiable by the hieroglyphic inscription on the papyrus scroll that he holds in his lap; the hieroglyphic text faces the viewer, as though the god is declaring himself to the spectator.Imhotep was a notable high official during the 3rd Dynasty of the Old Kingdom, who was deified and revered from the Late Period onwards, some 2000 years after his death. During his lifetime, Imhotep was a noted scholar, vizier to King Djoser, priest of Ptah, high priest of the sun god, Ra, and possibly the architect of Djoser's Step Pyramid complex at Saqqara, the first Egyptian pyramid. He was further recognised as a patron of medicine, writing and learning, hence he was commonly depicted as a scribe, with a skull-cap or shaven head, and holding a papyrus scroll. It is likely that this sculpture was a votive offering at a temple or sanctuary dedicated to the god; R.H. Wilkinson notes that Imhotep's 'cult centres were places of pilgrimage for sufferers who prayed and slept there in the hope that the god would heal them or reveal remedies to them through inspired dreams' (The Complete Gods and Goddesses of Ancient Egypt, London, 2003, p. 113).For the type, see Egyptian Sculpture of the Late Period, 700 B.C.-A.D. 100, New York, 1973, pl. 35, 43 and 45 for fragmentary examples. See also a statue of the priest Wennefer, holding a figure of the deity Khonspakherd and dated to the 30th Dynasty, at the British Museum, London, acc. no. EA 55254.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 7
An Egyptian alabaster gobletNew Kingdom, 18th Dynasty, circa 1550-1292 B.C.8cm high Footnotes:Provenance:Private collection, England.Anonymous sale; Christie's, London, 11 December 1987, lot 58.Resandro collection, Europe, acquired from the above sale (R-139).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.42, no. R-139.Cf. See an example in Egypt's Golden Age: The Art of Living in the New Kingdom, 1558-1085 B.C., Museum of Fine Arts, Boston, 1982, p. 129, no. 119 and the footed goblets discovered as part of the funerary equipment of the three wives of Thutmose III, as reproduced in W.C. Hayes, The Scepter of Egypt II, The Hyksos Period and the New Kingdom (1675-1080 B.C.), New York, 1959, p. 139-141, fig. 77. These drinking cups formed part of an impressive and costly table service, including drinking bowls and wine jars, and reflected the extraordinary wealth and luxury enjoyed by the owner both in life and after death.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 20
An Egyptian bronze seated catLate Period, circa 664-332 B.C.5.8cm high excl. tangsFootnotes:Provenance:Resandro collection, Europe, acquired prior to 1987 (listed on a 1987 loan document) (R-477).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.161, no. R-477.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 18
A large Egyptian turquoise faience amulet of BastetThird Intermediate Period-Late Period, circa 1150-332 B.C.8.8cm highFootnotes:Provenance:Friedrich Wilhelm von Bissing (1873-1956) collection, Munich, inv. no. F 488.with Jock Francken (1906-1994), Munich.Resandro collection, Europe, acquired 23 October 1979 from the above (R-383, HA 246).Published:S. Schoske and D. Wildung, Gott und Götter im Alten Ägypten, 1992, Mainz am Rhein, 1992, pp.138-139, no. 97 (identified as Tefnut).I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.103, no. R-383.Exhibited:Berlin, Ägyptisches Museum und Papyrussammlung; Berlin, Staatliche Museen zu Berlin; Munich, Staatliche Sammlung Ägyptischer Kunst Munchen; Hamburg, Museum für Kunst und Gewerbe Hamburg, Gott und Götter im Alten Ägypten, 1992-1993.Identification of lion-headed goddesses, when in amuletic form and without identifying inscriptions, is notoriously difficult, but the kitten that surmounts the goddess's head here invokes the fertility most associated with Bastet, the goddess adored as a goddess of fecundity and often depicted in the form of a seated cat. Cf. a similarly-sized example in C. Andrews, Amulets of Ancient Egypt, London, 1994, p.34, pl. 30c, depicting a lion-headed goddess carrying a wedjet-eye at his chest, and named on the back-pillar as Bastet.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 23
An Egyptian bronze statuette of a kneeling kingLate Period, circa 664-332 B.C.8.9cm high Footnotes:Provenance:Charles Bouché (1928-2010) collection, Paris.with J.-D. Cahn, Basel, 2006.Resandro collection, Europe, primarily formed late 1960s-1997 (R-425).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.148, no. R-425.This kneeling king would have surmounted the handle of an incense burner, with his hands extended to hold the rim of a cartouche-shaped pan. Incense burners were used in both temple and funerary rituals. There are other examples of incense burners with a kneeling king, in the Walters Art Museum, Baltimore, acc. no. 54.498, the Metropolitan Museum of Art, New York, acc. no. 41.2.2, and in the British Museum, London, museum no. EA67189.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 5
An Egyptian wood model of offering-bearersMiddle Kingdom, 12th Dynasty, circa 1976-1793 B.C.64.5cm high, 50.4cm wideFootnotes:Provenance:Resandro collection, Europe, acquired in Munich July 1975 (R-049).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.20, no. R-049.The male and female offering-bearers are shown carrying an elaborate casket, a duck and a tray of beer jars. These were intended to provide some of the essential needs for the ka of the deceased in the afterlife. The size and quality of the figures suggest that the deceased would have been an important official and landowner. Similar figures of offering-bearers have been found with place names added, that represent the estates that would continue to provide for the owner. As with the conventions of larger scale sculptures, the figures are shown stepping forward on their left leg. The offering procession group would likely have accompanied other figures of offering-bearers, a model funerary barque, and various figures showing production scenes of everyday life.There is a group of four offering-bearers, including a woman holding a duck and a casket of beer jars, in the Museum of Fine Arts, Boston, cf. MFA Highlights, Arts of Ancient Egypt, Boston, 2003, p. 124, and for another fine figure of a female offering-bearer holding a live duck, see the Metropolitan Museum of Art, New York, acc. no. 20.3.7.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 37
An Attic red-figure pelikeAttributed to the Painter of Athens 14627, circa mid 4th Century B.C.20cm highFootnotes:Provenance:Raphaël Collin (1850-1916) collection, Paris.The Senator William A. Clark (1839-1925) Collection, acquired from the above in 1911. Bequeathed to the Corcoran Gallery of Art, Washington D.C., 1925. Deaccessioned and gifted to the American University Museum at the Katzen Arts Center, Washington D.C., 2014.with Sands of Time Ancient Art, Washington D.C., 2021. Published: R. Collin, Collection of Antique Grecian, Egyptian and Etruscan Statuettes, Vases, Tanagras, Etc., Paris, 1911, p. 27, no. 186. Original Clark Catalog, Part II, p. 251, no. 186. The Illustrated Handbook of the W.A. Clark Collection, The Corcoran Gallery of Art, Washington D.C., 1928, p.124, no. 2688 (and in the 1932 edition of the same name).Exhibited: Corcoran Gallery of Art, Washington D.C., 'The William A. Clark Collection,' 26 April-16 July 1978.One side with a satyr standing with his foot on a low plinth, and leaning towards a seated woman, a tambourine in her lowered left hand and a dish in her raised right hand. The other side with another satyr in a similar position, with a female figure in a belted chiton leaning away from him.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 77
A small Hittite silver statuette of a priest or deityCirca 1400-1200 B.C.3cm high excl. pegFootnotes:Provenance:R. Symes Gallery, UK, prior to 1999, inv. no. 2221; sold by the liquidators.with C.J.M. Coins Ltd., UK.Acquired by the current owner from the above in 2017.As well as being a formidable political force, the Hittite Empire was a great cultural centre. The period from circa 1400-1200 B.C. was a time of preeminence in Hittite metalwork, giving rise to many intricate objects, from vessels to figurines such as this. Much of the imagery revolved around Hittite deities and religious practices. Hittite religion was one of the most complex of any ancient Near Eastern culture, and has been characterised as an example of extreme polytheism. The priest-king served as the bridge between mortal man and the plethora of deities they sought to appease and worship. Cf. a similarly diminutive statuette of a winged deity at the Metropolitan Museum of Art, New York, acc. no. 1990.255, and another of a seated female, acc. no. 1989.281.17. The present lot, and the Met examples, belong to a group of miniature representations of Hittite deities, priests and worshippers. Usually made of bronze, gold, and silver, they may have been worn as amulets (though they do not have suspension loops), or used as votive dedications, as small statuettes are recorded in lists of offerings to deities in Hittite texts.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 8
An Egyptian limestone double-sided sculptor's model with heads of a Pharaoh and a gazelleNew Kingdom, 19th-20th Dynasty, circa 1292-1075 B.C.The reverse with the head of a Nubian, and another gazelle, 9cm high Footnotes:Provenance:with Ronald and Noele Mele, New York.Resandro collection, Europe, acquired from the above by 1982; recorded in a loan agreement to Dr. Martin Winkler (1893-1982), Feldafing, Germany (R-121).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.38, no. R-121.See N. Tomoum, The Sculptors' Models of the Late and Ptolemaic Periods, Cairo, 2005, pp. 10-19, where Tomoum outlines the two theories behind the purpose of sculptors' models, either as practice, study pieces, or as votive offerings.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 4159
Hamacher, Alfred (1862 Breslau - Berlin 1935) Robert Hahn (1883-1940) Zwei Portraitdarstellungen: a) "Pascha Kurt Kalau vom Hofe, Konteradmiral und Reorganisator der türkischen Hochseeflotte" in Uniform und b) seine Gemahlin, gemalt von Rob. Hahn "Erna Kalau vom Hofe geborene Clifford Kocq", so verso auf Vita beschrieben. Öl/Lwd. je auf Platte aufgezogen (rest.), re. o. sign./dat. 1910 bzw. li. u. sign. 87x 64 bzw. 77x 60 cm. R.
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