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Lot 133

Large well decorated Meiji Period Bottle vase, 14" tall 10" wide at it fullest, decorated throughout with Flowers, Birds and Trees, gilt highlights, marked to base with 9 Japanese Caricature marks to the base,

Lot 215

Interesting and Unusual Pottery and silver inlaid Norwegian or Scandinavian vase, 8" tall tapering form, 6.5" wide at the top, the top with inlaid silver decoration, the front decorated with a Mermaid, marks on base include a Impressed mark hand Drejad, pattern No:P14 makers mark Gustavsberg. Argenta No: 978

Lot 297

Kingdom of Macedon, Philip II AR Tetradrachm. Amphipolis, circa 336-328 BC. Laureate head of Zeus right / Youth on horseback right, nude, holding palm; ΦΙΛΙΠΠΟΥ above, bee below, janiform-head vase to right. Le Rider 263-325; SNG ANS 510-20. 14.43g, 25mm, 1h. Good Very Fine. Golden toning around the devices. Ex Stack's Bowers and Ponterio 164, 6 January 2012, lot 136.

Lot 450

Lesbos, Mytilene EL Hekte. Circa 454-427 BC. Head of Athena wearing crested Corinthian helmet to right / Two confronted female heads, their faces overlapping; all within incuse square. Bodenstedt 55; HGC 6, 981; Boston MFA 1693; de Luynes 2555. 2.53g, 11mm, 1h. Near Mint State. Very Rare, Bodenstedt lists only 8 examples; CoinArchives records six, of which this is the finest by far. From the Kleines Meisterwerk Collection. This coin seems like a perfectly ordinary hekte when the obverse is first viewed; it is only when the coin is flipped to reveal its highly unusual reverse does the importance and novelty of the type become apparent. Employing a simple but effective form of optical illusion, the reverse appears to show the same female portrait both to the left and to the right. The design is deliberately intended to confound the eye and engage the viewer’s attention in attempting to resolve both portraits independently of the other, which is of course impossible, thus presenting the viewer with a visual paradox. The image works by confusing the brain’s figure-ground perceptual grouping process by giving it contradictory cues, thus preventing it from assigning definitive edges to the observed shapes. As a result, the human visual system will settle on one of the portraits, facing either left or right, and alternate between them. The importance of this type, both in terms of numismatic art and in the wider context of Greek art in general, cannot be understated. It is a thoroughly novel, and never to be repeated experiment in paradoxical illusion on the coinage of a Greek city-state. The Greeks were certainly familiar with the concept of a visual paradox - Plato describes the ourobouros ‘tail-devouring snake’ as the first living thing; a self-eating, circular being: the universe as an immortal, mythologically constructed entity. They were also aware of the power of illusions - Greek architects would apply a technique known as entasis in the construction of their temple columns. Columns formed with straight sides would appear to the observer to have an attenuated appearance, and their outlines would seem concave rather than straight. Therefore a slight convex curve would be built into the shaft of the column, resulting in a swelling in the middle parts, in order to correct this disagreeable trick of the eye. Why then, when they were clearly aware of the power of illusion and paradox, did Greek artists not employ such techniques? The answer most likely lies in the cultural shift away from the static representational art of the archaic period driven by new realistic and idealistic paradigms; artists now sought to demonstrate their skill through attempting to attain aesthetic perfection based on both observational study, and occasionally improvement of nature through idealisation of the subject’s features. Thus non-practical forms of optical illusion were most likely dismissed as curious, but unlikely to earn an artist everlasting fame. It was therefore left to relatively modern artists such as Oscar Reutersvärd, who created the Penrose Stairs (also dubbed the impossible staircase), and psychologists such as Edgar Rubin, who developed the familiar Rubin’s vase (sometimes known as the Rubin face or the figure–ground vase), to explore the visual and psychological implications of these images which trick the brain. The significance of this coin therefore is that it predates the work of both of the aforementioned celebrated ‘illusionists’ by well over two milennia, and demonstrates an appreciation and understanding of optical illusions as an art form, not just a necessary practical expedience.

Lot 479

Mysia, Kyzikos EL Stater. Circa 550-500 BC. Half-length bust of a winged female deity to left, wearing kekryphalos headdress, round earring and long-sleeved chiton, in her right hand holding a tunny fish by the tail, and raising a flower to her chin; bust truncation indicated by dotted line between parallel lines / Quadripartite incuse square. Von Fritze 75; SNG France 205; Boston MFA 1448 = Warren 1519. 16.15g, 19mm. Near Extremely Fine, struck on a vast, elongated flan. Very Rare, and in excellent condition for the type. The winged figure on this coin of Kyzikos is most frequently simply described as a 'winged female', though on occasion numismatists have ventured to suggest that the depiction is that of a harpy, one of the mythical ‘snatchers’ who were sent by the gods to torment Phineos, the blind seer-king of Thrace, for his transgressions. Though in the Homeric poems the harpies are nothing more than the personifications of storm winds, Hesiod (c. 750-650 BC) described them as the daughters of Thaumas by the Oceanid Electra; fair-haired and winged maidens, who surpassed the winds and birds in the rapidity of their flight. Archaic pottery depicts them thus, in a manner that closely resembles the winged figures on the coins of Kaunos in Karia - see in particular Wagner Museum L164 – black figure clay vase. It was only later tradition that portrayed the harpies as hideous half-woman, half-bird creatures - a development resulting from a confusion of harpies with sirens. By the time of Aeschylus (c. 525-455 BC), this transformation was largely complete, though the harpy’s ‘beautiful’ image is still occasionally seen as late as 480 BC - see the J. Paul Getty Museum hydria/kalpis by Kleophrades, on which the harpies are rendered as young winged girls. The identification of the winged figure on this stater as a harpy is therefore possible, though other identifications are equally plausible. Iris, goddess of the rainbow, was depicted as a winged woman with a herald’s staff, as likewise was Nike, though the latter usually carried a wreath or palm. However, none of these beings was associated with flowers, which above all were an attribute of Aphrodite and Kore-Persephone. Only one parallel for the present type exists in surviving Greek art: the 5th century BC funerary stele now known as ‘The Exaltation of the Flower’, held in the Louvre. Carved in a similarly severe archaic style, the stele depicts two female figures holding up flowers; the left figure in a pose very similar to that shown on this coin. Those figures have been identified either as unknown mortals, or as Demeter and her daughter Persephone - the view favoured by its discoverer Léon Heuzey. The wings on our figure clearly identify her as a goddess though, and the flower is most likely the key to understanding her identity. Kore-Persephone, daughter of Demeter, therefore seems to be a logical choice: she was gathering flowers when Hades came to abduct her, and her return to earth each year was heralded by the blossoming of the meadows. Her overwhelming prominence on the later coinage of Kyzikos further strengthens the case for her depiction here. Regardless of her identity, the winged deity on this coin is rendered in exquisite detail, from her ornamented cap to her expressive face and crinkly chiton. The same treatment of the chiton can be observed in major art of the archaic period, for example in the east frieze of the Siphnian treasury at Delphi.

Lot 493

Mysia, Kyzikos EL Stater. Circa 500-450 BC. Double-bodied winged sphinx standing with head facing atop tunny fish to right, wearing ouraios, hair falling in plaited locks behind / Quadripartite incuse square. Von Fritze -, cf. 128 (hekte); Greenwell -, cf. 101 (hekte); SNG France -, cf. 280 (hekte); CNG inventory 925160; Roma VIII, lot 631. 16.16g, 20mm. Near Extremely Fine. Of the highest rarity, only the third known specimen. The sphinx as a type recurs frequently on the coinage of Kyzikos and new types are still being discovered today, yet the double-bodied sphinx is certainly the most curious depiction of this mythological monster, and the reason for it being so is not easy to divine. Greenwell (p. 102), who was citing Cousinéry, proposed that it was simply an artistic device for showing the sphinx as seated facing, 'arising from the difficulty of depicting a figure in that position'. This proposition appears plausible, until one considers that double-bodied owls are also engraved on coins at various cities including Athens, where they certainly had no problem with engraving a front-facing owl. More damning still for this simplistic view, the double-bodied sphinx appears also in statuary where again there is no logical reason to sculpt it so unless it possesses some significance - see in particular the limestone Tarentine column capital of the Corinthian order at the Metropolitan Museum, New York, and also the marble gravestone decorated with a loutrophoros supported by a double-bodied sphinx at the British Museum (both 4th century). The concept of double-bodied monsters was an ancient one, and probably originated in ancient Sumeria, as they are seen on cylinder seals from this culture, and are repeated later on ancient Iranian goldwork. Here, the double-bodied monsters probably signified a dualistic nature that is easily adaptable and can be one thing or another, or a span between two distinct yet connected elements such as sunrise and sunset. Tom Rasmussen (Corinth and the Orientalising Phenomenon) proposes that the artistic portrayal of the sphinx as a double-bodied monster was first devised at Corinth, where it can be found on a Protocorinthian olpe vase, circa 640 BC, known as the Chigi olpe which is now in the Villa Giulia in Rome. This was likely the product of a blending of Greek and Eastern imagery, yet the result is wholly original; indeed Rasmussen points out that 'Greek Orientalising is rarely straight copying of Oriental'. It has often been suggested that the electrum staters of Kyzikos take their types from a wide range of artistic sources across a broad geographical range, as might be expected for a city-state that relied almost entirely for its prosperity on being a commerce hub where east and west would meet and exchange wares and ideas. Whether or not Corinth was the origin of the double-bodied Sphinx, it is not surprising that such an intriguing motif should be adopted at Kyzikos.

Lot 57

PINCHUS KREMEGNE (RUSSIAN-FRENCH 1890-1981)Still Life with Apples, Wine, Vase and Cup, oil on canvas54.3 x 73 cm (21 3/8 x 28 3/4 in.)signed lower leftEXPERTISEWe are grateful to Jeannette Kremen for confirming the authenticity of this paintingPLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.

Lot 5

Sarreguemines Moorish design vase and cover H41cm

Lot 6

Burmantofts Faience vase, impressed marks to base and numbered 2148 H29cm

Lot 7

Burmantofts Faience vase, impressed marks to base and numbered 2133 H26.5cm

Lot 9

19th century Wardle 'Cheerful Friends' majolica vase signed by T. R. Ruskin decorated with a musician and poodles H34cm, Wardle 'Georgian Ware' jardiniere designed by Frederick Rhead H15.5cm and a Wardle vase with gilded floral decoration H20.5cm (3)

Lot 10

19th century Ault vase - probably designed by Christopher Dresser - exhibited at Christopher Dresser society in Middlesborough Summer 2015 H35.5cm

Lot 107

Two pieces of 1930s Bagley glass - Tulip vase with stand and a Sunburst jug - Wade ceramics, Noritake teaware, Wedgwood Jasperware trinket boxes in one box

Lot 108A

Sanders & Wallace paperweight, Swedish glass sculpture H14.5cm, vase and five glass birds

Lot 120

Collector's plates, Wedgwood jasperware vase, Del Boy and Rodney pepper pots, and other decorative items in one box

Lot 13

Large Linthorpe Pottery vase, impressed marks and numbered to base 336 H52.5cm, Linthorpe plaque decorated with classical female profile and two other vases, along with two publications 'Linthorpe Art Pottery' by Clive W. Hart and 'Linthorpe Pottery - An Interim Report' Condition Report a/f

Lot 17A

Denby Danesby vase H19cm and a matching table lamp base

Lot 20

William S. Mycock for Pilkington's Royal Lancastrian Pottery vase H10cm

Lot 21

Pilkington's Royal Lancastrian Pottery vase, impressed marks and numbered to base 2776 H18cm and one other Royal Lancastrian vase, numbered 3275 and bearing signature (Gwladys Rodgers) H17cm

Lot 21B

Troika Pottery coffin shaped vase H16.5cm

Lot 21C

Troika Pottery coffin shaped vase H16.5cm

Lot 28

Art Deco period iridescent glass vase L16.5

Lot 3

Moorcroft MacIntyre 'Forget-Me-Not' two-handled vase, signature to base H20cm

Lot 112

Orange 1970's art glass vase 29.5 cm high, 14 cm diameter

Lot 206

C S ADAMS. Framed, glazed, signed, 20th Century, watercolour on paper, still life depicting a bright vase of flowers in pinks and yellows with a small bowl of water beside, 37cm x 47cm.

Lot 283

ERNEST H PAYNE. Framed, signed, 20th Century, oil on canvas, title to verso ‘Anemones’, still life of a vase of flowers in pinks and purples, 36cm x 29cm.

Lot 306

Pair of framed, signed, 20th Century, oil on board, to include one S BARTON dated 1964, still life of vase of ornate roses in pinks and yellows, and one ELLA MOSES still life elaborate basket of autumnal flowers with blue flowers, 60cm x 45cm, 47cm x 56cm (2).

Lot 311

Pair of works, to include one PEG FOSTER framed, signed, dated 1979, oil on canvas, still life of a large vase of peach and white flowers, and one framed, indistinctly signed, 20th Century, oil on canvas, still life of a basket with overflowing red, white and pink flowers, 49.5cm x 39.5cm, 29cm x 39cm (2).

Lot 329

Three paintings to include ALFRED TAYLOR, pair of signed, 19th Century, watercolour on paper, one pastoral scene framed by tree on left with large house in background and one still life depicting vase of wild flowers resting on a book, one unsigned, framed, glazed, watercolour on paper, indistinct inscription to verso, two small studies of walnuts, 12cm x 19.7cm, 23cm x 16.5cm, 7cm x 10cm (3).

Lot 5

A Moorcroft pottery vase, with floral decoration.

Lot 6

A boxed Brierglass lead crystal goblet shaped vase.

Lot 115

Minton Rose Basket pattern porcelain urn vase, 23cm high

Lot 121

A pair of Japanese earthenware baluster vase, 32cm high (2)

Lot 123

Mixed lot to include two Maling pottery cabinet cups and saucers Jolly Roger character jug, Royal Winton cruets and a Spode vase etc (a lot)

Lot 147

South East Asian blue and white miniature vase, pot and cover and a saucer dish (3) tallest 9cm

Lot 284

A large white glazed twin handled pedestal urn vase, 80 cm high

Lot 300

Two contemporary pottery vases and a clear glass flower vase with frilled rim (3)

Lot 136

Two boxes of miscellaneous items to include turned brass candlesticks, horse brasses, and modern cloisonne vase etc

Lot 14

A Japanese bronzed metal vase with applied decoration, impressed seal mark verso

Lot 148

A Royal Worcester blush ivory miniature loving cup together with two Battle of Britain commemorative mugs, and a Caithness glass vase (4)

Lot 155

A small modern Cobridge stoneware squat vase on a green ground with floral decoration, impressed mark verso

Lot 182

A small Chinese celadon vase together with two celadon shallow bowls (3)

Lot 183

A Chinese export stoneware bottle vase having six character marks verso together with with one other similar vase (2)

Lot 26

A Wade Harvest pattern footed vase, and a Decoro glazed earthenware bowl (2)

Lot 30

A Chinese blanc de chine cylindrical vase

Lot 38

A pair of late 19th century Black Forest carved vases, each modelled as a hollowed tree stump with attendant billy goat and kid goat grazing on leaves, h.23cm Condition Report / Extra Information Left hand vase - right horn later replacement (reasonably well done), chip to branch upper left corner, small chip to branch upper right, some shrinkage splits noticeable to back of top.. Right hand vase - small hole visible from underside, hole to middle of stump at bottom of vase, one small leaf chip, kid goat tail chipped. Both with some handling wear.

Lot 381

A large modern Chinese blue and white vase of baluster form, the central panel decorated with peacocks amongst prunus on a hardwood stand, height 100cm overall

Lot 432

Four boxes of miscellaneous china to include a large Victorian blue and white meat plate (a/f), glass handkerchief vase, majolica style vase etc

Lot 433

Four boxes of miscellaneous to include Dutch gouda vase, Wades scotch whisky bells, and motto ware etc

Lot 49

A Whitefriars style blue glass bowl, studio glass vase, and a boxed Finnish glass Kartio (3)

Lot 8

F. Otto for Royal Dux - A pair of large Art Nouveau figural vases, circa 1900, modelled in the form of two female figures beside oak trees, stamp numbers '1557' and incised 'F R Otto' to the rear, h.59cm Condition Report / Extra Information One vase with no signs of damage or restoration. The other vase with area of restoration to protruding edge of top rim, 15x8mm low chip to same area at outside edge, horizontal hairline to middle area of figure, crack to upper part of water flowing into jug.

Lot 82

Mixed lot to include framed woolwork, bamboo vase, etc

Lot 290

Silver boxed 3 piece cruet set and pair silver salts with spoons in original box , Silver vase and Ashtray (4)

Lot 591

Royal Doulton two handled vase decorated with the Musketeers series D5719, height 32cm

Lot 595

Royal Doulton Titanian vase painted with Kingfisher by H. Allen, height 21cm

Lot 596

Royal Doulton Titanian vase painted with Young Magpie by H. Allen, height 19cm

Lot 597

Royal Doulton Titanian vase painted with Young Magpie by F Henri, height 14cm

Lot 598

Royal Doulton Burslem vase hand painted with a lady in white dress signed Leslie Johnson, height 21cm

Lot 600

Royal Doulton Burslem large two handled vase hand painted with flowers to the front and reverse, height 74cm (one handle restored and some wear to gilding)

Lot 601

Royal Doulton large Faience floor vase decorated with flowers by Ester Lewis, height 90cm (good restoration to base)

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