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Lot 315
A star sapphire necklace, earring and ring suite, the necklace composed of star sapphire cabochons spaced by marquise-shaped diamond set collets, and suspending a principle star sapphire and single-cut diamond cluster, together with a pair of ear pendants and a six-stone ring of complimentary design, the ear pendants stamped ‘Kt 18’, total diamond weight approximately 1.30 carats, ring size N½. £800-£1,200
Lot 1146
LOUIS XI: (1423-1483) Louis the Prudent. King of France 1461-83. A rare L.S., Loys, one page, oblong 8vo, Montils-lez-Tours, on the 5th day of January [n.y.], to `Dear and Beloved Cousin, Count of Comminges, Marshal of France´, in old French. Written in the hand of the clerk, the King offers his help, troops and military weapons to his correspondent, stating `Monsr le mareschal pour ce que aurez besoing d'artillerie et que Jay entendu quil en y a a lyon, Jescriz a ceulx de la ville, quilz facent ce que leur ordonnerez, et me semble que devez faire fondre celle quilz ont faite et en faire faire des pieces quil vous semblera qui vous seront necessaires pour mener avecques vous´ ("Monsieur the Marshal, for what you will need of artillery and having been told that there is artillery available in Lyon, I write to those of the city in order that they do what you will order them. And it seems to me that you must melt down the ones they have made and make them in pieces as you think you will need them to carry with you") Countersigned at the base by Tillhard. A very slightly light signature although perfectly legible and visible by the King. Addressed to the verso. Overall age wear, small staining and slightly trimmed right and bottom edges, with a very small repair to the left edge, otherwise G The castle at Plessis-lez-Tours, near Tours, also known before as Montils-les-Tours, was the Royal residence of three Kings of France, Louis XI, Charles VIII and Louis XII. It was the first building in bricks and stone in the Loire and was initiated by Charles VII and Louis XI, the last bought the estate of Montils in 1463 and finished the building of the castle, making it the Royal residence of the King of France. A small cottage next to the castle gave shelter to Francis of Paula (1416-1507), an Italian mendicant friar and founder of the Roman Catholic Order of Minims. Francis of Paula was never ordained a priest. He died and is buried at Montils-lez-Tours Jean de Lescun d´Armagnac (? - 1473) Count of Comminges, known as the Bastard of Armagnac. Appointed marshal of France in 1461, the year Louis XI ascended to throne. The historically important ordinance of Montils-lès-Tours, well-remembered for the reformation of custom, was promulgated by Charles VII (1403-1461), the father and predecessor of Louis XI, in April 1453. It was an ordinance which defined the jurisdictional competences of the Parliament of Paris, the extent of the Royal domain, the rights relating to Royalty, to Peers of France, to prelates, etc.. It is especially important in the history of law because the King requests the writing down of customs, which till then were almost an exclusive matter of private law.
Lot 167
FILM DIRECTORS: Selection of signed 8 x 10 photographs by various film directors comprising Alejandro Gonzalez Inarritu, Oliver Stone, Peter Greenaway, Luc Bondy and the screenwriter Kazuo Ishiguro (Nobel Prize winner for Literature, 2017). Most of the images are colour and all are signed with their names alone to the images. VG to EX, 5
Lot 648
LEIBOVITZ ANNIE: (1949- ) American portrait Photographer. Her Polaroid photograph of John Lennon and Yoko Ono, taken only five hours before Lennon´s murder is considered one of the most famous covers of the Rolling Stone magazine. A very fine colour 10 x 8 photograph by Leibovitz, the image depicting her seated in a half-length pose. Signed in bold black ink to a partially clear area of the image. VG
Lot 869
ECONOMISTS: Selection of individual ink signatures, each to the verso of colour picture postcards addressed to the Italian collector Roland Sensini, and one signed correspondence card, by various economists, some of them recipients of the Nobel Memorial Prize in Economic Sciences, comprising Paul Samuelson (2; Nobel Laureate 1970), John Hicks (2; Nobel Laureate 1972), Kenneth Arrow (Nobel Laureate 1972), Wassily Leontief (Nobel Laureate 1973), Milton Friedman (Nobel Laureate 1976), Lawrence Klein (Nobel Laureate 1980), James Tobin (Nobel Laureate 1981), George Stigler (Nobel Laureate 1982), Richard Stone (3; Nobel Laureate 1984), Robert Solow (2; Nobel Laureate 1987), Nicholas Kaldor, Peter Drucker, Enrico Bombieri, John Kenneth Galbraith (3) and Lester Thurow (2). Some have added notes etc. in their hands and many have small attached magazine or newspaper portraits etc. Generally VG, 23
Lot 992
NAPOLEON I: (1769-1821) Emperor of France 1804-14, 1815. An interesting content L.S., `Np, one page, 4to, gilt edges, Elba island, Portoferraio, 22nd August 1814, to general Bertrand, in French. The letter was written during Napoleon´s first exile in the Elba island, and bears alongside Napoleon´s signature a four holograph lines in the hand of General Bertrand, signed, related to the Emperor´s orders. Napoleon shows sufficient knowledge in architecture and bridge engineering to issue the present orders related to bridges in Corsica, stating in part `Monsieur le Comte Bertrand, tous les travaux d´art qu´a fait le Sr Lambardi sont mal faits; chargez l´officier de genie de les faire; le Sr. Lambardi ne fera que les mouvements de terre, il paye ses journées trop cher… Ordonnez à l´officier de genie d´achever le 4º pont, non en bois, mais en pierre et d´une seule arche de 18 pieds de large, ce qui est plus que suffisant pour l´écoulement des eaux´ (“Monsieur Count Bertrand, all the works made by Sr. Lambardi are badly done; instruct the engineer officer to do them; Sr. Lambardi will only make the works of removing the earth, he pays too much for his days… Order the engineer officer to complete the 4th bridge, not in wood, but in stone and with a single arch of 18 feet wide, which is more than enough for the flow of water”) Napoleon further comes back to the cost of the works done by Lambardi, stating in part `Faites l´état des travaux qu´il a fait et les fonds qui ont été mis à sa disposition; comparez-les avec les dépenses, qui me semblent les dépasser de bveaucoup´ (“Make a statement of the works he has done and the funds that have been made available to him; compare them with the expenses, which seem to me that they exceed by a lot the quotations”) Before concluding Napoleon explains that there is one more bridge to build on the road to Campo, on the south of Corsica, and this one has also to be done by the army engineers. Bertrand annotates and signs in his hand in bold black ink `Ecrire au command. de genie. Prévenir M. Lambardi que Mr. … doit diriger les travaux d´art. Lui demander le devis qu´il avait fait pour les travaux. Brt´ (“Write to command. of engineers. Notify Mr. Lambardi that Mr. … must direct the works. Ask him for the estimate he had made for the works. Brt”) In very fine condition. VG Henri Gatien Bertrand (1773-1844) French General. Count Bertrand and Grand Marshal of the Palace. Bertrand was aide-de-camp to Napoleon I and the closest officer to the Emperor who had full confidence in him. He served during the expedition to Egypt and the Battles of Austerlitz, Wagram, Leipzig and Waterloo and accompanied Napoleon to Elba in 1814 and to St. Helena in 1815. Bertrand was condemned to death in 1816 but did not return to France until Napoleon´s death when King Louis XVIII granted his amnesty. In 1840 Bertrand went to St. Helena to bring Napoleon´s remains back to France.
Lot 290
Antoine PoncetUnique 'Insicive', second half 20th CenturyMarble, stone base.30.5 x 39 x 37cm Signed A. Poncet.Footnotes:ProvenanceGalerie Berès, ParisAcquired from the aboveThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 147
Indie / Britpop 7" Singles, twenty-six singles of mainly Indie and Britpop including Limited Editions and with artists comprising The Cure (ten singles), The Smiths (six), Stone Roses (three), The La's (two), The Charlatans (two), Morrissey, The Pixies and REM - some with price stickers (from original sale) otherwise mainly all in Excellent to EX+ condition
Lot 154
Jimi Hendrix LPs, twelve UK Release albums comprising Electric Ladyland (Track original double - Blue Lettering), Axis: Bold as Love (Polydor), The Cry Of Love (Polydor), Crash Landing (Polydor), Experience (Bulldog), Rainbow Bridge (Reprise - Tan Labels), Smash Hits (Polydor), Stone Free (Polydor), Radio One (Double - Castle), Woke Up This Morning and Found Myself Dead (Red Lightnin'), Johnny B Goode (Fame) and Jimi Hendrix (Replay) - mainly less than excellent condition
Lot 174
Bob Dylan 7" Singles, approximately forty-five singles with titles including Leopard Skin Pill Box Hat (Picture sleeve), One Of Us Must Know, I Want You, Maggie's Farm, Can You Please Crawl Out Your Window, Positively 4th Street, Like A Rolling Stone, Rainy Day Women, Subterranean Homesick Blues, O A Night Like This, Tight Connection To My Heart (demo), Like A Rolling Stone (Sealed) and more - various years and conditions
Lot 42
Psychedelic LPs, twenty-four albums of mainly Psychedelic Rock comprising The Doors (The Doors, Waiting For The Sun, L A Woman, The Soft Parade, Morrison Hotel, Absolutely Live, An American Prayer), Electric Prunes (Underground, Just Good Old Rock N Roll), Martha Velez - Fiends and Angels, Iron Butterfly - Metamorphosis, Cream (Wheels Of Fire (In The Studio), Full Cream, Best Of Cream), Jimi Hendrix (In The West, Cosmic Turnaround, Vol 2, High Live & Dirty), Small Faces - Autumn Stone, Velvet Underground - Andy Warhol, Its A Beautiful Day - Same, The Who - Meaty, Beaty, Big & Bouncy, Woodstock One and Woodstock Two compilations - a mix of Originals and Reissues - various years and conditions
Lot 368
From the collection of actor Michael Jayston – Walt Disney - The Sword In The Stone (1963) - an original Walt Disney Productions used animation cel from the movie. The cel features the character Young Wart. Accompanied by an original period 1960s letter of provenance from Walt Disney Productions, on headed stationery. Framed and glazed. Total size; 38cm x 37cm. From the actor's personal collection. Michael Jayston is an English actor. He played Nicholas II of Russia in the film Nicholas and Alexandra (1971). He has also made many television appearances, which have included playing the Valeyard in all fourteen episodes of the Doctor Who serial The Trial of a Time Lord (1986) and appearing in the Only Fools and Horses episode "Time on Our Hands" (1996) as Raquel's father, James.
Lot 114
12th-13th century A.D. A rectangular marble floor panel recalling similar workmanship to the floor of the Sistine Chapel, comprising a large central circular panel in porphyry, within a border composed of small triangles, the larger motif ornamented with rhomboid and triangular elements in green and porphyry; each spiral centre enclosed by a circular panel in different coloured stone; the composition framed by pelta-shaped panels set with triangular and rhomboid stones, a small triangle to each corner; accompanied by a custom-made display stand. See Boito, C., Architettura Cosmatesca, Torino, 1860; Hutton, E., The Cosmati, The Roman Marble Workers of the XIIth and XIIIth Centuries, London, 1950; Tosca, P., Storia dell’Arte Italiana, il medioevo, vol. III, Torino, 1965; Matthiae, G., 'Componenti del gusto decorativo cosmatesco,' in Rivista dell'Istituto Nazionale di Archeologia e Storia dell'Arte, vol. I, 1952, pp.249–281; Cigola, M., 'Mosaici pavimentali cosmateschi. Segni, disegni e simboli,' in Palladio, Nuova serie, anno VI n. 11, Giugno, 1993, pp.101–110; the composition of the mosaic recalls the floors of the most important churches in Rome, like the floor of the Sistine Chapel (realised probably in 14th century for the previous building or Cappella Maggiore), or that of Santa Maria Maggiore (1145-1153 A.D.), San Giovanni in Laterano (14th century A.D.), Saint Clement (1099-1120 AD), Santi Quattro Coronati (13th century A.D.), Santa Croce in Gerusalemme (12th century A.D.) and many others. 2.08 kg total, 41 cm including stand (16 1/4 in.). French gallery, Paris, 1990s. From a family collection. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114506-195308. The Cosmatesque style was a characteristic type of ornamentation of Eastern Roman origin (opus alexandrinum) used by the Roman marble makers of the 12th and 13th centuries A.D. It embellishes floors, ciboriums and cloisters of churches by means of polychrome marble inlays of varied and imaginative geometric shapes. The wider use of this decoration began in the 12th century, at which time techniques were improved: the Cosmati floors were made with pieces of stone cut in various shapes and sizes, a property quite different from the mosaics in opus tessellatum, in which the motifs were made from small units all having the same size and shape, or from the opus sectile, intended to create representations with pieces of multicoloured marble cut out and arranged for this purpose. The stones used by Cosmati artists were often material salvaged from the ruins of ancient Roman buildings. [A video of this lot is available to view on Timeline Auctions Website.]
Lot 18
Middle Kingdom-Ptolemaic Period, 2133-31 B.C. A mixed group of Egyptian and other hardstone amulets of various types, including a haematite headrest; a red jasper heart (ib) amulet and another in green stone; a frog in pale green stone and another in faience; a fragmentary carnelian couchant lion; a lapis lazuli wedjat eye; a feldspar seated hawk; the scarabs include two uninscribed lapis lazuli scarabs, a naturalistically modelled feldspar scarab; an alabaster scarab with a dog(?) above a lion on the underside; and a Late-Ptolemaic Period agate scarab with a modern loop fitting; materials include lapis lazuli, turquoise, chrysocolla, carnelian, emerald, amethyst, rock crystal, agate, faience and jasper. 94 grams total, 8-37 mm (1/4 - 1 1/2 in.). Acquired Paris, France, 1950-1970. Private collection of Madeline Meunier (1921-2009). with Christie's Millon, Paris, France, 16 December 2016, lot 152. From an important Paris gallery, France. Ex private Parisian collection. [33]
Lot 182
2nd-3rd century A.D. A gold bracelet composed of a D-section hoop terminating in corrugated sleeves, the oval setting hinged to the looped ends; one hinge permanently secured, while the other can be opened by removing a pin, allowing the bracelet to be sprung and slipped over the wrist; one side adorned with a teardrop-shaped garnet, the other set with a teardrop-shaped green glass stone in a raised cell; the box setting holding a composition stone held in place by a serrated flange, bordered by strip-twist and herringbone wiring. Cf. Vernier, É., Catalogue Général des Antiquités Égyptiennes du Musee du Caire, du Musee de Caire, Bijoux et orfèvreries, Le Caire, 1907, pls.XII-XIII; Ogden, J.M., Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt, II Volumes, Durham, 1990, pp.223ff. 27.26 grams, 67 mm wide (2 5/8 in.). Ex private Swiss collection, 1980s. Accompanied by an archaeological report by Dr Raffaele D'Amato. Accompanied by a positive scientific statement from Striptwist Limited, a London-based company run by historical precious metal specialist Dr Jack Ogden, reference number 22902. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11510-196383. The bracelet has much in common with earlier Hellenistic forms and also demonstrates one of the earliest forms of 'safety clasp'. The composition of the gold is in keeping with Sarmatian gold jewellery. [A video of this lot is available to view on Timeline Auctions Website.]
Lot 20
New Kingdom, 1550-1069 B.C. and later. A restrung necklace composed of lapis lazuli papyrus flower amulets, lapis and other stone seed beads, gold-coloured spacer beads and a modern screw clasp. 10 grams, 60 cm long (23 5/8 in.). UK private collection before 2000. UK art market. Property of a London gentleman.
Lot 232
Western Jin Dynasty, 265-317 A.D. A ceramic standing horse with the hindlegs slightly apart and bent, tail erect, integrally modelled saddle with saddlecloth, bridle ornaments on muzzle and forelock; supplied with a made-to-measure stone base. For a similar example see a sculpture from the Birmingham Museum of Art, accession no.1979.321; cf. Hajeck et al., A Book of Chinese Art, four thousand years of sculpture, painting, bronze, jade, lacquer and porcelain, Spring Books, 1966, item 28, for type. 4.7 kg total, 27 cm including stand (10 5/8 in.). Acquired 1980-1990s. Ex West Country collection. Property of a Bristol, UK, gentleman. The Western Jin pottery horses tend to be modelled on the stocky and short-legged Mongolian breed, unlike their more graceful Han Dynasty predecessors. This type of horse was formerly attributed to the Han period; developments within the field of archaeology have since re-attributed them to the Six Dynasties era (3rd-6th century A.D.)
Lot 264
Late 2nd-early 3rd century A.D. A bronze sport helmet of 'Pfrondorf Type', with female features, possibly representing a gorgon (Medusa), comprising a two-part helmet with a back plate, the face piece originally with a removable inner mask; the skull embossed with stylised representations of hair along the sides and collected at the lower centre of the back to a chignon, the centre decorated by a red cabochon; two snake heads on the upper part of the skull, the bodies of which are decorated with scales chiselled on the surface; the edge of the skull decorated with punched triangles and a line representing the crown of the hair around the face; a small flat neck guard; a hinge to the top of the head allowing the mask to be raised; the T-opening for the face was not always present in this type of helmet. See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; Born, H., and Junkelmann, M., Römische Kampf-und Turnierrüstungen, Band VI, Sammlung Axel Guttmann, Mainz, 1997; D'Amato, R. and Negin, A., Decorated Roman Armour, London, 2017; D'Amato, R. and Negin, A., Roman Heavy Cavalry (1), Cataphractarii and Clibanarii, 1st century BC-5th century AD, Oxford, 2018. 2.1 kg total including stand, 27 cm (10 1/2 in.). Swiss family collection since before 1980. Dutch private collection since the 1990s. Important East Anglian collection of arms and armour. Accompanied by a metallurgic analytical report, written by metallurgist Dr Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 144723/HM1364. Accompanied by an academic report by military specialist Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no. 144723-10011. This mask helmet belongs to the category of Roman mask helmets used during military games and pageants, which also functioned as training, such as those described by Arrian of Nicomedia in the ‘Tactica’. The simpler versions of such masks could also be used in battle, particularly by the heavy cavalry division (catafractarii). The distinguishing feature of such masks is the removable central area, along with a two-part construction. The Pfrondorf helmet, now held in Stuttgart, which gives its name to the typology, is the best and most complete of such specimens, which are rare in such good condition. Helmets with a facial cut-out often display the image of Medusa, with reference to her terrifying ability to turn people to stone. [A video of this lot is available to view on Timeline Auctions Website.]
Lot 31
New Kingdom, 1550-1069 B.C. The lower half of a stone statue of a seated figure, comprising an L-shaped base with decorative vertical striations and panel of hieroglyphs to both faces, together with the lower body of what was likely a royal figure or deity wearing a pleated kilt, arms resting along the tops of the thighs with palms open and facing downwards, feet placed parallel; base of pillar to reverse also bearing hieroglyphs. 1.2 kg, 13.5 cm high (5 1/4 in.). French collection, 1990s-early 2000s. From an important Paris gallery, France. Ex private Parisian collection.
Lot 316
10th century A.D. A silver pendant showing a male figure, probably Odin, with body composed of an interlaced strip with hands gripping the edge of the frame; suspension loop in the form of a bearded male face. Cf. Arwidsson, G., Birka II: 3 Systematische Analysen der Gräberfunde, Uppsala, 1986, p.27, fig.3:23 (Tuna, Alsike Ksp. Up. Typ Tuna). 11 grams, 34 mm (1 1/2 in.). Acquired before 1990. Ex North American professional collector. Property of a French private collector. Accompanied by an X-ray fluorescent analysis test certificate dated 15 June 2016. In Norse mythology, from which stems most of our information about the god Odin, is associated with healing, death, royalty, the gallows, knowledge, battle, sorcery, poetry, frenzy, and the runic alphabet, and is the husband of the goddess Frigg. In Old Norse texts, Odin is depicted as one-eyed and long-bearded, frequently wielding a spear named Gungnir, and wearing a cloak and a broad hat. He is often accompanied by his animal companions - the wolves Geri and Freki and the ravens Huginn and Muninn, who bring him information from all over Midgard - and Odin rides the flying, eight-legged steed Sleipnir across the sky and into the underworld. Odin is attested as having many sons, most famously the gods Baldr and Thor, and is known by hundreds of names. In these texts, Odin frequently seeks knowledge in some manner and in disguise (most famously by obtaining the Mead of Poetry), at times makes wagers with his wife Frigg over the outcome of exploits, and takes part in both the creation of the world by way of slaying the primordial being Ymir and the gift of life to the first two humans Ask and Embla. Odin has a particular association with Yule, and mankind's knowledge of both the runes and poetry is also attributed to Odin. This pendant would appear to represent Odin sacrificing himself on the world tree, Yggdrasill, in his pursuit for knowledge and the sacred runes. Odin hung himself from a branch of the world tree that hung over the well of Urd, pierced himself with his spear and looked into the sacred waters. He hung for nine days and nights poised between life and death and on the last day the runes revealed themselves to him and he gained the sacred and secret knowledge that elevated him to an even higher state in the world of the gods. The Jellinge style of art takes its name from the tenth century, Danish, royal cemetery at Jelling in Jutland, and is noted for the ribbon like animals that decorate a silver cup and a memorial stone from the site. [For this specific lot, 5% import VAT is applicable on the hammer price]
Lot 33
Late Predynastic-Early Dynastic Period, 3100-2850 B.C. A pink marble or alabaster kohl pot of fusiform shape, two horizontal perforated handles to the shoulder and flat base. Cf. Aston, B.G., Ancient Egyptian Stone Vessels: Materials and Forms, Heidelberg, 1994, p.120, shape 77. 114 grams, 54 mm high (1 1/4 in.). Acquired Paris, France, 1950-1970. Private collection of Madeline Meunier (1921-2009). with Christie's Millon, Paris, France, 16 December 2016, lot 50 (US$1,000-1,700). Accompanied by a copy of the relevant Christie's Millon catalogue pages. Versions of this style of vessel with shallow integral handles have been found in First Dynasty contexts at sites such as Saqqara and Abydos.
Lot 344
Circa 1450 A.D. A gold ring composed of a slender round-section hoop and oval bezel set with a facetted ruby. 0.42 grams, 22.64 mm overall, 19.27 mm internal diameter (approximate size British S, USA 9, Europe 20, Japan 19) (7/8 in.). Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK. Displayed in the Museum of London circa 1984 as they stated it was an unusual 15th century ring for that period having a facetted stone. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
Lot 361
Franconia, late 15th-early 16th century A.D. A carved limewood figure of St John from the workshop of Tilman Riemenschneider in Würzburg, Germany; the saint standing with his head slightly tilted, a mop of curled hair surrounding his doleful face; a long mantle draped over his sleeved tunic, his bare feet placed on a knoll with textured grass and stones; holding a Gospel in his left hand. See Tönnies, E., Leben und Werke des Würzburger Bildschnitzers Tilman Riemenschneider, 1468-1531, Strassburg, 1900; G?mez-Moreno, C., Medieval Art, from private collections, a special exhibition at the Closters, October 30, 1968, through March 30, 1969, New York, 1968; Bier, J., Tilman Riemenschneider: His life and Work, Lexington, 1982; Chapuis, J., Tilman Riemenschneider: Master Sculptor of the Late Middle Ages, National Gallery London Publications, 1999; late Gothic wooden statues of St John the Evangelist from a crucifixion in Dá?ová, H. and Pražáková, M. (eds.), In the middle of the Czech Crown - Gothic and Early Renaissance Art of Eastern Bohemia 1250—1550, (in Czech), Muzeum východních ?ech v Hradci Králové, 2020, pp.142-143, 177. 5.45 kg, 98.5 cm high (38 3/4 in.). French private collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114460-196260. Tilman Riemenschneider was a prolific sculptor in stone and in limewood, whose work is held to mark the transition from the late medieval 'Gothic' style to the more naturalistic Renaissance style. From circa 1520, his increasing involvement in local government and politics entailed handing over much of his commission work to his apprentices and workshop. His work is unusual for its deep modelling of folds in clothing and in that it was not always painted. This statue was possibly part of a carving group representing the Crucifixion. The timber shows some old insect flight holes and we are advised that this piece has been recently treated with Permethrin, as a precaution. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
Lot 364
France, circa 15th century A.D. A carved oak panel depicting a horse driver raising a knotted whip or scourge to three horses emerging from a crenelated stone building with pitched roof. 4.95 kg, 52 cm wide (20 1/2 in.). UK private collection. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114462-196267. [No Reserve]
Lot 386
Loire Valley, France, circa 1500 A.D. A stone statue depicting the Virgin Mary seated with the (now acephalous) infant Christ seated on her proper right knee, the boy assisting his mother to hold open the pages of a book, likely the Bible, to a specific page, his right hand tenderly supporting her extended left hand from below, carved in the round with naturalistic anatomical detailing to each figure and their garments; the later replacement crown has been removed; traces of polychrome pigment. Cf. for examples the sculpture of the Virgin with child of late century 15th century A.D in Wixom, W., The Metropolitan Museum of Art Bulletin, Medieval Sculpture at the cloisters, Volume XLVI, no.3, New York, 1988/89, pp.5-6; Forsyth, W., The Pieta in French Late Gothic Sculpture: Regional Variations,New York, 1995; Fogg, S., 30 Heads, stone heads from the 12th to the 15th century, London, 2018, pp.86ff. 112 kg, 80 cm high (31 1/2 in.). with Christie's, France, 8 November 2013, lot 36. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no 11539-196243. The Virgin and Child represent one of the most frequent subjects in the Gothic medieval sculpture, due to the development of the cult of the Virgin and the increase in the veneration of Mary. These carvings were not limited to churches, but were also found in shrines, entrances to towns, and inside private chapels. The long wavy hair, the rounded forehead, the almond-shaped eyes and the delicate smile are widespread stylistic features found in several regions among Germany and France (in particular Lorraine, Burgundy, Île-de-France, Loire Valley, Bourbonnais, Meuse Valley). [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
Lot 460
Circa 16th century A.D. and earlier. A mixed group of six mainly ceramic artefacts comprising: a figural whistle; a stone bead; two figural mounts; a bowl with lobed handles and geometric motif to the exterior; a vessel with bulbous body, cylindrical neck and pelletted chevron motif around the body; the figures are likely Moche culture. 272 grams total, 15 mm-10 cm (1/6-4 in.). Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. [6, No Reserve]
Lot 466
16th century A.D. or earlier. A group of two items comprising: a ceramic pendant in the form of a whistle, geometric motifs painted to both faces, perforated lobe for suspension; a (possibly later) bead necklace composed of turquoise and other stone beads, including a pendant bead in the form of a bird. 18-50 grams, 13-23 cm long (5 1/8-9 in.). Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. [2, No Reserve]
Lot 76
1st-3rd century A.D. A very fine figure of a nude putto; naturalistic head and body with soft, childlike features; the left leg slightly forward; the right arm resting, left arm raised with the hand open; the face is worked with great care, with large pupils showing the cavities in which the original stone or glass eyes were inserted; the hair with blocks of curls in a short but dense hairstyle composed of thick short locks, with some in tight curls and others in S-shaped waves, suggesting a natural hairstyle similar to those frequently found in portraits of Roman children. See Daremberg - Saglio, Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873-1917; Jashemski, W.J., The gardens of Pompeii: Herculaneum and the villas destroyed by Vesuvius, II volumes, New York, 1979; Manderscheid, H., Die Skulpturenausstattung der kaiserzeitlichen Thermenanlagen, Berlin, 1981; Zanker, P., The power of the images in the age of Augustus, University of Michigan Press, 1988; Currie, S., The empire of adults: the representation of children on Trajan’s arch at Beneventum, New York, 1996; Rawson, B., ‘Iconography of Roman childhood’, in Rawson, B., Weaver P.R.C., The Roman family in Italy, Status, Sentiment, Space, Oxford, 1997, pp.205-232; Herrmann, J.J.Jr., Deconstructing and Reconstructing the Harvard-Vatican Boys, in Brauer A. (ed.), Teaching with Objects: The Curatorial Legacy of David Gordon Mitten, Harvard Art Museums, Cambridge, MA, 2010, pp.34-52; the work of the head shows some similarity with the working hairs of the statue of a boy (in marble) preserved in the Art Institute of Chicago (inv.1976.426); the position of the body is similar to the one of a 1st century AD boy marble piece preserved in Ny Carlsberg Glyptotek, Copenhagen (inv.1790), except for the raised left arm; instead, the general position of the body, raised arm included, is like the one of a Roman boy bronze statue (mid-1st century BC-mid-1st century AD) preserved in Saint Louis Art Museum (inv.36:1926). 11.6 kg total, 68 cm with stand (26 3/4 in.). Acquired in the 1950s from Mathias Komor (1909-1984). Ex a private English collection, Old identification sticker to reverse of base, 'Mathias Komor, Works of Art, New York, Reference F210'. Accompanied by an archaeological report by Dr Raffaele D’Amato. Accompanied by a copy of metallurgic analytical results, written by Metallurgist Dr Peter Northover (ex Department of Materials, Materials Science-Based Archaeology Group & Department of Materials, University of Oxford). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114491-195980. The craftsmanship, particularly of the hair, shows some similarity with the marble statue of a boy in the Art Institute of Chicago (inv.1976.426); the position of the body is similar to the one of a 1st century AD marble piece preserved in Ny Carlsberg Glyptotek, Copenhagen (inv.1790), except for the raised left arm; the general position of the body, raised arm included, is similar to the bronze statue of a boy (mid-1st century BC-mid-1st century AD) in the Saint Louis Art Museum (inv.36:1926). This lot exemplifies the Roman interest in artistic representations of children. During the Roman imperial period, children were widely represented in the art of both the public and private spheres, with the children of the imperial family given prominent representation on Augustus’ Ara Pacis. Putti carried a range of meanings; most commonly, they were representations of the god of love (Cupid). Images of both mortal and divine children appeared in the artworks and furnishings of the home, on tomb monuments and burial containers associated with the funerary realm, and on imperial state art. Many Roman sculptures of children appear to have been created for domestic display, as a number of statuettes of children have been found in Roman houses, particularly in gardens. [A video of this lot is available to view on Timeline Auctions Website.]
Lot 86
Circa 140 A.D. A high-quality emerald (green beryl) intaglio portrait of Marcus Aurelius as a young man, in profile left; the military cloak (paludamentum) in connection with the extreme youth of the subject suggesting that the portrait is not a private one, but must be of an imperial prince; the style of the carving and hairstyle of the subject clearly belong in the Antonine era; the material too suggests an imperial subject: the stone, hard, brittle and very difficult to carve, was highly prestigious in such large sizes; Roman examples of such portraits in emerald or aquamarine are very rare and usually represent members of the imperial family; the cabochon set into a contemporary gold finger ring comprising a flat-section hoop with granules to the shoulders and an ellipsoid bezel. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 367, for ring type; also for ring/bezel shape Koch coll. no.349 (2nd-3rd century); and for the bezel see Marshall, F. H., Catalogue of the Finger Rings, Greek, Etruscan, and Roman, in the British Museum, 1907, 87, no.509. 5.92 grams, 26.22 mm overall, 17.48 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13) (1 in.). Acquired 1970-1990. Ex property of a deceased lady. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114493-195583. Dr Ittai Gradel writes: 'The portrait in all likelihood represents Marcus Aurelius as a young prince and heir to the imperial throne, c. AD 140. The only possible alternative would appear to be his son Commodus as a youth, c. 175 AD. Like young Marcus, Commodus’ youth portrait is well known from coins (and sculpture). Young Commodus’ hair is rather less curly, however, his neck thinner and his whole appearance rather more delicate and effete than the youth portraits of his father, which seem to fit the gem image better; further, the split in the hair fringe on the forehead seems a deliberate attempt to reproduce he characteristic hair parting in the same location in young Marcus’ main (only) sculptural portrait type. Though a close call, Marcus rather than Commodus should therefore be the subject here.' [A video of this lot is available to view on Timeline Auctions Website.]
Lot 89
2nd-3rd century A.D. A cameo gemstone portraying a private portrait of a nobleman in profile right, with short hair, beardless face, long neck and garment pinned at the proper right shoulder; set onto a later polished stone base; some restoration. 53.3 grams, 24 mm (1 in.). Acquired 1960s-1990s. From the late Alison Barker collection, a retired London barrister.
Lot 414
A SCOTTISH OFFICER'S SGEAN DUBH TO THE 79TH REGIMENT OF FOOT, 10.25cm fullered blade with faceted back edge and etched with scrolling thistles and the regimental number 79 (Cameron Highlanders) within a laurel wreath, gilt hilt with EGYPT battle honour, gilt thistle decorated pommel set with a stone, carved basket weave wooden grip set with brass studs, contained in its gilt mounted leather scabbard.
Lot 416
A SCOTTISH BLACK WATCH OFFICER'S SGEAN DUBH, 8.25cm fullered blade with faceted back edge, brass mounted hilt decorated with thistles, stepped pommel set with a faceted orange stone, carved basketweave wooden grip set with brass studs and applied with the figure of St Andrew, contained in its brass mounted leather scabbard with maker's stamp. Blade with grey staining and pitting.
Lot 188
Beckensall (S.) Northumberland's Pre Historic Rock Carvings: A Mystery Explained, lge. 8vo, printed morocco, illus., Pendulum Publications, Rothbury 1983 (two copies in variant but similar bindings); Cramp (Rosemary) Anglo-Saxon Stone Sculpture In England: Vol. 2 Cumberland, Westmorland, etc., 4to, cloth, illus., Oxford University Press, 1988; Sitwell (William) Stones of Northumberland and Other Lands, 8vo, cloth, illus., Newcastle 1930, sundry transactions of the Architectural and Archaeological Society of Durham and Northumberland; and other books and publications on Ancient Northumbrian Archaeology.
Lot 279
16 ticket stubs for concerts, most in London area c 1970s. To include: The Pink Floyd (Feb 17th, 1972), The Rolling Stones at Empire Pool, Wembley 1973, Joan Baez, Faces, Leonard Cohen (Hamburg 1974), Jose Feliciano, Free, South Bank Pops 1970, Sly and the Family Stone, Lindisfarne, The Pentangle.
Lot 314
Beer labels, a selection of approx. 160 labels, various shapes, sizes and ages, John Jefffrey & Co Ltd, Edinburgh (19), Jennings Brothers Cockermouth, (24, with 17 showing contents amount), John Joule & Sons, Stone (10 with 5 showing contents), Kemptown Brewery Brighton (7), King & Barnes, Horsham (53, with 43 showing contents amount), Lancashire Clubs Brewery, Barrowford (3), W C Land & Co Scarborough (5), J W Lees & Co, Manchester, (41, with approx. 33 showing with contents amount) (sl hinge marks to back, gen gd/vg)
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