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Lot 35
A first third of 20th century walking stick. Carved fruitwood shaft and an ebony and ivory handle carved in the shape of a sphere with a dog inside with glass eyes and a silver joint 88,5 cm. long. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
Lot 54
A 19th century walking stick Carved bamboo cane shaft and an ivory handle carved in the shape of the face of the moon onone side and a wolf on the other, with a gilt metal joint, 89 cm. long. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
Lot 60
A late 19th century walking stick from the Philippines. Carved wood shaft engraved with the inscription "Recuerdo de Filipinas. Año 1889" and an ivory and ebony handle carved in the shape of a grotesque character with a metal joint, 88,5 cm. long. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
Lot 64
A 19th century European walking stick. Carved fruitwood shaft and an ivory handle carved in the shape of a sphere with characters and an ebony and ivory marquetry joint, 89 cm. long. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
Lot 67
A walking stick circa 1900. Carved and ebonized wood shaft with en ebony and ivory handle carved in the shape of the bust of Felipe III wearing the Golden Fleece badge, 94 cm. long. The nose shows a chip on the nose and a crack on the cheekbone. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
Lot 70
A 19th century walking stick, northern France. Carved wood shaft and an elephant ivory handle carved in the shape of a greyhound head, 87,50 cm. long. One ear is broken and the other is restored. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
Lot 69
A group of three Attic red-figure krater fragments Possibly by the Dinos Painter, circa 430-410 B.C.most likely depicting an Amazonomachy battle scene, the triangular fragment with a man (possibly Hermes) wearing a petasos and chiton, holding a stick in his right hand, behind him the left knee and shield of a warrior, the second fragment depicting the body of a nude warrior striding forward with his left arm holding a shield and his right a spear, a quiver strung across his chest, in the foreground the arrow and hand of another warrior, the third fragment with the waist and legs of a woman, likely an Amazon, wearing a short dress, a fallen male warrior with arms reaching overhead at her feet 12cm, 11cm and 16.5cm long respectively (3)Footnotes:ProvenanceP. Sharrer, New JerseyA.S. Richter collection, California, acquired from the above 4 May 1989Acquired by the current owner from the above's estate, 2017The ancient Greek male body has been an ideal of Western Art for over 2000 years. The idealised male is nude, his defined muscles and slender body holding an athletic pose to show off the skill of the sculptor or painter. Just as we are inundated with images of the perfected male form in modern advertising media, the ancient Greek would have encountered the idealised nude male body in the vase-painting and statuary that surrounded them. In Classical Greece, male nudity was not the taboo subject it is today. It was common for men to exercise together naked, and participate in sporting events, such as the Olympic games, in the nude. It was this training and exercise that would prepare men for the gruelling nature of war. A soldier needed to be fit to fight. Due to the design of their shields, a warrior counted on the man to his right to protect him from oncoming attacks, just as he was counted on by the man to his left to do the same. It was this trust built up amongst soldiers which the Greeks relied on for their success in battle. A Greek warrior would not enter combat nude, yet warriors were often depicted without clothing when the battle had a semi-mythical setting, as with this Amazonomachy scene. The nudity reflects the combatants' heroism and bravery.In opposition to this was the Greek perception of the female body. In the visual arts the female is pale, her soft skin without muscle definition and her body (almost) always covered. This reflected daily life in Classical Greece, where women were kept behind closed doors, protected their bodies from the sun and had limited interactions with men outside of their family unit. When women were depicted nude in art, it was to show their weakness, vulnerability, or sexuality, with the latter demarcating the woman as an outsider, such as a prostitute or musician. The figure of the Amazon breaks with the norms of a respectable Greek woman. Where the traditional Greek woman was demure and functioned as a bearer of legitimate children, the Amazon was athletic, independent and frequently challenged men in battle. The Amazons were a semi-mythical race of women who were thought to be the offspring of Ares (the god of war) and the nymph Harmonia, meaning they had demi-god status. They lived on the fringes of the known Classical Greek world which reinforced them as an 'Other' in Ancient Greek society. The Amazons did not marry, and were known to cut off their right breasts for greater agility in battle. Battles which took place between Amazons and Greek heroes, such as when the Amazons fought against the Greeks in the Trojan war, are known as Amazonomachies. The Dinos Painter, named for his many depictions of Dionysiac scenes, was a student of the Kleophon Painter.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
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