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A matched pair of 20th Century Carpie Nove, Capodimonte style, vases of baluster form, decorated with panels of exotic flowers, flanked by openwork scrolling acanthus and mask decorated handles, raised on a socle base, one in bleu royale with putti decorated cover, the other in bleu celeste with floral encrusted cover (2) CONDITION REPORTS Blue vase has various yellowing and discolouration in places, wear to the decoration and gilding. In need of a good clean. some minor chips, surface scratches etc all conducive with age and use. The lid has losses to the flowers and boughs. The turquoise example has been broken at the base, has been broken and repaired on one handle in various places. Chips and knocks throughtout. Surface scratching and wear to the decoration and gilding. Both have general wear and tear conducive with age and use - see images for more details
Central African Republic, P 14c, Linzmayer B110c, Banque des États de L'Afrique Centrale, 500 Francs, 1 January 1987. Carved wooden ancestral figure with offering bowl on head; vase on front. Signatures Casimir Marie Ange Oyé-Mba - Jean-François Ntoutoume Emane. Seated man carving mask; various wooden artifacts on back., # R.02 041102456., UNC
Northwest Asia Minor, uncertain EL Stater. Circa 600-560 BC. Phokaic standard. Chimaera, with the body of a lion, the head of a goat rising from its back, and its tail ending in the head of a serpent, standing to left / Two irregularly divided incuse squares, one larger than the other. BMC 41, pl. II, 2 = B.V. Head, 'Metrological Notes on the Ancient Electrum Coins struck between the Lelantian Wars and the Accession of Darius', NC 1875, pp. 285-8, pl. X, 9 = Head, A Guide to the Principal Coins of the Greeks, Period I. A, 18, pl. 1; New York Sale XXX, 142 (same dies). 16.56g, 20mm. Extremely Fine. Of the greatest rarity; one of three specimens known, with only two in private hands, the present example being the finest known of the type. The earliest surviving literary reference to the Chimaera is found in Homer’s Iliad, where the monster is described as “a thing of immortal make, lion-fronted and snake behind, a goat in the middle, and snorting out the breath of the terrible flame of bright fire”. In his Theogeny, Hesiod elaborates further on the mythology of the creature, casting it as an offspring of Echidna - half woman, half snake - who along with her mate Typhon was the mother of many of the most famous monsters of Greek myth, such as Orthrus, Cerberus, the Lernaean Hydra, the Sphinx, Skylla, and the Nemean lion. Appearing at an early stage in the repertory of the proto-Corinthian vase painters, the Chimaera provides us with some of the earliest identifiable mythological scenes in Greek art. Initially the depiction of the Chimaera varies from artist to artist, but became fixed around the 670s with the proliferation and distribution of its image on painted pottery. These variations have suggested to some, including Marilyn Low Schmitt (‘Bellerophon and the Chimaera in Archaic Greek Art’ American Journal of Archaeology 1966), the possibility of multiple autonomous traditions. The depiction of the Chimaera on this extraordinary rarity has no relation to the type’s later appearances on the coinage of Corinth or Sikyon, which were given as early suggestions by scholars for the possible origin of this coin. Other suggestions, including the possibility that the coin could have been struck at Zeleia, on account of this city having had a Lycian population, cannot be proven. Like so many early electrum coins, all that can be ascertained with a reasonable degree of certainty is that the type was produced somewhere in northwestern Asia Minor, and that it is probably related to the ‘shield series’ staters which feature a similar reverse double-punch.
Lucania, Herakleia AR Stater. Circa 330 BC. Eu- and Apol-, magistrates. Head of Athena right, wearing crested Attic helmet decorated with Skylla throwing a rock; EY before / Herakles standing facing, half-turned to right, wrestling the Nemean lion; oinochoe below, club and [APOL] to left, [|-HPAKΛEIΩN] above. Work 47 (same dies); Van Keuren 51 (same obv. die); HN Italy 1378; SNG ANS 66; SNG Lloyd -; Basel -; Bement 138 (same obv. die); Gulbenkian -; Hunterian 7 (same dies); McClean 825 (same obv. die); Weber 706 (same dies). 7.54g, 21mm, 2h. Extremely Fine. Rare. From the collection of C.S., Germany; purchased before 1991. The flourishing of an artistic culture in Herakleia is attested by the beauty and variety of its coinage, and that they survive in relative profusion is demonstrative of the wealth and commercial importance of the city. Despite this, it is not often that one encounters them in as good a state of preservation as is the case with the present coin. The depiction of Herakles on the reverse of this coin places the hero in a typical fighting stance of the Greek martial discipline Pankration, or Pammachon (total combat) as it was earlier known. Indeed, this fighting style was said to have been the invention of Herakles and Theseus as a result of their using both wresting and boxing in their encounters with opponents. The stance portrayed on this coin is paralleled on an Attic black-figure vase in the BM depicting two competitors, one in a choke hold similar to that of the lion here. The composition of this design is very deliberate - as the lion leaps forwards, Herakles, who had been facing the lion turns his body sideways. The myths tell us that Herakles had first stunned the beast with his club, and now he dodges the lion’s bite and reaches his right arm around its head to place it in a choke hold. Impressively careful attention has been paid to the detail on this die, including realistic rendering of the hero’s musculature, which has been engraved in fine style.
A late Qing period Chinese porcelain prunus vase, the shouldered body with compressed trumpet stem, typically decorated with white flower heads on a blue ground on circular foot, with character mark beneath, pierced beneath for lamp use, on associated wooden stand, 49cm high.
Various Chinese soapstone figures, comprising a bearded sage in a naturalistic floral setting, on shaped base, 22cm high, a small vase with seated monkey, a roundel set with marching elephants, further money vase, another set with foliage and a carved pierced dodo figure, all Chinese and other soapstone, (a quantity)
A bi-coloured soapstone figure of a stork, on naturalistic setting, in orange and green, unmarked, 10cm high, an open vase aside monkey on naturalistic part pierced setting, a lidded polished recumbent hippopotamus and an old red coloured vase inscribed China verso, etc. (a quantity)
A Chinese soapstone figure group, formed as a bearded sage in a heavily pierced naturalistic setting aside open vase, on D-end part pierced base, 29cm high, a polished bird and floral group and a miniature soapstone figure group of two exotic birds in a naturalistic setting. (3)
Various Chinese and other soapstone, to include a 20thC teapot, in green, black and red colourway with heavily carved floral handle and spout, with bird knop, 9cm high, a seated Buddha style figure, another, similar, and an open vase set with monkey handle in red and orange colourway. (4)
Various soapstone and other similar carvings, to include figure leading horse, sage desk seal, 12cm high, decorated in a red and black marble effect, open vase carved with monkeys to the base, green and slate coloured vase group, further figure of a bearded sage with laughing expression and a carved figure group of scholars and animals on a ship raised above a shaped base. (6, unmarked)
Various soapstone carvings, figure groups, etc., to include a bearded sage holding staff on removable associated base, the main body 21cm high, a carved soapstone style table screen of small proportion raised with exotic birds on a shaped base, monkey vase in dark colours and a further monkey and antelope vase. (a quantity, unmarked)
Various oriental carvings, etc., to include a driftwood carved head figure, 16cm high, unmarked, a Worcester design hand and flowerhead vase, Indian god sculpture, various other items, resin perfume bottle, similar designed recumbent wildebeest and figure group, etc. (a quantity)
A Chinese porcelain blue and white Ming style vase, the inverted trumpet stem raised above a shouldered body on circular foot, profusely decorated with flowerheads, flowering branches, etc, with a double circular line mark beneath, probably late Qing period, 36cm high.
Various Chinese and Japanese porcelain, etc, to include Kanxi style tea bowl 9cm dia. and saucer, inset with a flower profusely decorated exterior with bands of flowerheads and scrolls, with a blue circular and seal mark beneath and similar saucer with double line mark and Kanxi style initials beneath, a Chinese tea bowl with double circular, four character mark beneath, other 18thC and later tea bowls, vase, etc. (a quantity)
A late 19thC hardwood vase table, the circular top with a carved repeat geometric and floral outline, centred by a section of liver coloured marble, on a heavily carved base, terminating in inverted supports joined by a part pierced undertier set with scrolls, probably Chinese Qing period, 73cm high, 48cm wide, 48cm deep.
A small group of brassware to include a bell with wooden handle, a classical decorated table lamp and an Eastern coffee pot, also a group of clear glass to include a Royal Doulton vase and a circa 1900 salt/rolling pin, also a group of Pyrex laboratory glass.
ORREFORS; a mid 20th century Lindstrand tapering glass vase decorated with a skier, scratch signed to base 'Orrefors, Lindstrand, 1475', height 22cm, and a faceted glass vase with black base with scratched inscription to base 'Orrefors GA1439', height 15cm (2). CONDITION REPORT: The taller of the vases has some staining inside from use but neither are damaged.
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653685 item(s)/page