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Click here to subscribeGroße Silbervase Palermo, 2. Hälfte 20. Jahrhundert, Silber, am Boden gemarkt "Ceselatto a mano", "925", "Made in Italy", runde Vase auf gestuftem Stand, gebauchte Form mit eingezogenem Hals, umlaufend ziselierter, plastischer Reliefdekor mit Blumen und gedrehten Schnecken, H 34,5cm, Gewicht 2050g
MEISSEN Kaffeeservice 2. Hälfte 20. Jahrhunderts, Form "Neuer Ausschnitt", "Indisch Purpur"-Dekor mit Goldstaffage, bestehend aus 1 Kaffeekanne, 2 Milchkännchen, 1 Zuckerdose, 10 Kaffeetassen mit Untertassen, 10 Kuchentellern, 1 Vase, 1 Tortenplatte sowie 1 großen Gebäckschale, Schwertermarke, Kanne und Zuckerdose Deckelknauf bestoßen, Gebäckschale sowie 6 Kuchenteller mit 1 Schleifstrich (2. Wahl), 1 Milchkännchen mit 4 Schleifstrichen (4. Wahl), Vase bestoßen, 1 Untertasse minimal bestoßen, 1 Untertasse mit Haarriss und geklebt
MEISSEN Mokkaservice 2. Hälfte 20. Jahrhunderts, Form "Neuer Ausschnitt", "Indisch Purpur"-Dekor mit Goldstaffage, bestehend aus 1 Kanne, 1 Milchkännchen, 1 Zuckerdose, 6 Tassen mit Untertassen, 6 Konfektschälchen, 1 kleinem Schälchen, 1 Durchbruchteller, 1 kleinen Vase sowie 1 Tischaschenbecher, Schwertermarke, 2 Schleifstriche (2. Wahl), Kannedeckel Rosenknauf bestoßen
ROYAL COPENHAGEN Kaffee- und Teeservice 2. Hälfte 20. Jahrhunderts, "Musselmalet Vollspitze"-Dekor mit unterglasurblauer Malerei, bestehend aus 1 Mokkakanne, 1 Milchkännchen, 1 Zuckerdose, 6 Kaffeetassen mit Untertassen, 6 Teetassen mit Untertassen, 3 Mokkatassen mit Untertassen, 6 Kuchentellern, 2 diversen durchbrochen gearbeiteten Schälchen, 2 Leuchtern und 1 Vase, dazu 1 kleine Porzellanfigur Junge auf Schaukelpferd, Manufakturmarke, 1 Kuchenteller mit 1 Schleifstrich, 1 Kaffeetasse und Untertasse mit 1 Schleifstrich, 1 Teetasse bestoßen
A very heavy vintage mottled satin glass vase having blue streaks merging with lime green and with a wide everted rim, 10 1/2'' tall x 7'' wide together with a frosted splatter glass vase with aqua, mustard and cream streaks standing on a thick base which has small repaired hole, 10 1/4'' tall x 5 3/4'' wide.
A ROMAN RED JASPER MAGICAL INTAGLIO. ALLEGORICAL SCENE. 2nd century A.D.18 x 19 x 4,5 mm.In the center a vase with the claws and legs of a crab, above two dolphins converge towards the vase; a shell between the two marine animals. On the sides, two palm fronds; below, a crescent moon. Very interesting fantastic subject, composed as an emblema, which can be compared to the gryllos category in some aspects. Certainly a good auspicious scene. Wear marks and small chips to the edge. Small natural lack of the stone behind.Provenance: U.K. private collection acquired in the british art market.
A ROMAN CARNELIAN INTAGLIO SET IN A MODERN GOLD RING. ROOSTER HUNTING A SNAKE ON A VASE. 1st-2nd century A.D.Stone 6x7 mm; int. diam 16 mm; 4.82 gr.The bird is facing left and takes a small snake out of a jug. Dotted frame. Hexagonal shape of the gem. Rare subject. Wear marks.Provenance: European collection, acquired on the market, early 2000's.
A LARGE GREEN AND YELLOW JASPER MAGICAL INTAGLIO. BES-PANTHEOS.Possibly 2nd - 3rd A.D. and 20th century?12x16x5 mmThe deity is depicted with the bearded head of Bes encrowned with a composite crown. Head surrounds by animals protome. With human body, he wears a double pair of wings and arms ending with was scepters. In his right hand he holds the flagellum and the heka, meanwhile in the left, he holds a scorpion. He wears jackal-heads sandals on top of an ouroboros with inside, turtle, crocodile, cobra and a quadrupede. the ityphallic gesture is typical to this divinity sy;bolizing his creative nature. On the backside; inside an ouroboros, a vase with the Kheper at the base and three large phallus emerging. Between, two stars. On each side, a scepter with snake and a column with a canopic jar. The vase is supported by a crocodile facing right. Beneath, three snakes and a lion facin left. In the field, "ΑΧΑΝΑ". Chips on the edge, wear marks. For a similar gem Michel 2001 / Die Magischen Gemmen im Britischen Museum (161)Bonner 1950 / Studies in magical amulets, chiefly Graeco-EgyptianCBd / The Campbell Bonner Magical Gems Database Online (559)Provenance: U.K. private collection acquired on the british art market.
A FINE ROMAN MAGICAL CITRINE INTAGLIO. SEATED DOUBLE-HEADED BABOON WITH INSCRIPTION. 2nd-3rd century A.D.11x12x7mmShowing a seated baboon with also a ram's head. The heads encrowned with the uraeus cobra and the sun. The baboon facing right his holding in his right hand a heart-shaped vase with drops to the ground. Groundline. This intriguing iconography refers to the egyptian divinities Thot as a baboon and Khnoum as a ram, both gods considered in the Ermopolis cosmogony as cretaing gods. On the backside, inscription "ΧΟΜΑCΟΜ". Beautiful conservation and very bright color of the stone. Provenance: Ex Sangiorgi collection, acquired in the late 19th-early 20th century. This lot is sold under temporary import status.
A ROMAN CARNELIAN INTAGLIO. CANOPUS VASE. 1st - 2nd century A.D. 13x15x4 mm The god Osiris is presented in a canopic jar, wearing the atef crown and facing left. Groundline. Wear marks.Provenance: The Gustave Mustaki collection, exported from Egypt under licence c.1950 and gifted to Elsa MacLellan, his daughter, thence by descent.
A LARGE RENAISSANCE ROCK CRYSTAL INTAGLIO ATTRIBUITED TO VALERIO BELLI. ALLEGORICAL SCENE WITH SEATED HERO AND ASSOCIATED EMBLEMA. 16th century36x47,5x3 mmThis fine rock crystal intaglio is attributed to the Renaissance gem engraver Valerio Belli (c. 1468 – 1546). The intaglio depicts a seated nude hero offering a statue of Nike to a triumphal ‘victory’ column or cippus surmounted by a sphere and a pile of arms and armor. It is referenced as Tassie-Raspe impression 7846 and has been identified as a model for early Wedgwood works described as an ‘Offering to Victory’ as well as related Matthew Boulton ormolu plaquettes. Although the intaglio is unsigned, there are many physical and stylistic similarities to various works by and attribuited to Valerio Belli, particularly works commissioned by Pope Clement VII. The victorious hero in the scene, depicted with curly hair and sideburns, resembles the Duke of Florence Alessandro de’ Medici, the suspected son of Pope Clement VII. Duke Alessandro had to rumored fathers, one was Lorenzo II de'Medici, later Pope Clement VII who was Valerio Belli's most important patron. Although his lineage cannot be confirmed, historians generally regard Alessandro's father to be Pope Clement VII due the contemporary accounts as well as a Alessandro's lifelong favoritism by Clement VII, including his appointemnt as the Duke of Florence. The Medici dynasty was in perennial conflict with Republican factions in Florence, rebelling against Medici control over the city in 1527.As a consequence of an alliance between Charles V and Clement VII, Papal and Imperial armies laid siege to Florence for 10 months, and Alessandro de Medici was installed on the throne of Venice in 1530 and subsequently made a hereditary Duke by Charles V in 1532, ending the Florentine Republic, and cementing Medici control over the city. The Medici, who were very conscious of their depictions, made numerous efforts to portray the young Duke Alessandro as a warrior, Roman emperor and hero in paintings, sculpture as well as medals, intaglios and cameos attribuited to Domenico de'Polo. Furthermore, a rock crystal vessel, attribuited to Valerio Belli, depicts both Pope Clement VII and Alessandro, demonstrating the intimate connection between these two historical figures. The Duke Alessandro was assassinated in 1537 by his cousin. This rock crystal intaglio, characterized by an exceptional limpidity, was originally mounted in a brooch designed by Marc Koven during the mid 20th century.The rock crystal has an engraved border around the scene and stylistic parallels to several similar Renaissance rock crystals & medals commissioned by the Medici family (particularly the Medici Vase in the Louvre and the famous Medici Chest in the Uffizi). The rock crystal has similar dimensions to valerio Belli's documented and attribuited works, corresponding closely in size to "Herakles between Minerva and Venus, inscribed Valerius VAF (4.7 cm by 3.8 cm), Mutius Scaevola inscribed CONSTANTIOR (4.7 cm by 3.7 cm). It has also a corresponding thickness (3 mm) to the oval rock crystal depicting a sacrifice scene in the British Museum and the rock crystal depictiong the Judgement of Paris in the V&A Museum, both attribuited to Valerio Belli. This rock crystal intaglio, although undocumented in the literature, has a number of clear parallels in works attributed to Valerio Belli in major texts on the 16th century engraver. The scene is typical of Medici coinage from the period, specifically Cavino’s posthumous medal of Giuliano II de’ Medici and is believed to be a depiction of the later assassinated Duke Alessandro de’ Medici. Some features, particularly the cippus with an attached bow and quiver of arrows parallel those identified in an intaglio of Herakles being crowned by Minerva, formerly in the collection of Peter Paul Rubens and later Baron Philip von Stosch, attribuited to Valerio Belli. The composition with a figure seatd in an elegant pose, with one or both legs outstretched, is common in many Belli's compositions. For comparisons: Tassie n. 7846. The intaglio is described in Tassie 7846 as: “*_________ __________ A young hero sitting without arms, with the statue of Victory in his left hand, before a cippus on which his arms are suspended. It may be called Achilles victorious, in his retirement. For such subjects see the article Achilles and Mars in repose.”; There are some minor differences between the rock crystal and the Tassie impression which appear to be the result of an incomplete transfer. It is very likely that Tassie did not identify the owner of the engraved gem or the material in his text because he did not take the impression of the gem, but rather received the impression from another collector or performed his impression from an unidentified impression. The absence of the intaglio border in the Tassie impression suggests the engraved gem was previously mounted in a brooch or pendant which covered the border when the original impression was performed. Two thin spears appear in the rock crystal version, it is only possible to see the traces of a thin line representing one spear in the Tassie impression. The shield also has an additional thin line in the rock crystal. Additionally, small pieces of hair which form the side-burns on the face of the figure are also not visible. Because these differences are very minor features and all other details appear consistent, it is very likely that this Tassie impression derives from the original rock crystal above Unsigned - Attributed - Valerio Belli, Seated Virtue with Fame and a Genius, oval bronze plaquette, 50 x 39mm (Lewis D. in Valerio Belli Vicentino (2000), p. 134, 100 – and also p. 331, 125; Bange 812; Warren, Ashmolean Museum Plaquettes, 243); Tassie 7853. Cornelian. King of France; Intaglio stamp depicting an offering to Victory - 1774 - Wedgwood and Bentley. Intaglios produced from this stamp listed as #300 in Wedgwood and Bentley's 1774 Catalogue. See: Donati and Casadio, Bronzi e Pietre Dure nelle Incisioni di Valerio Belli Vicentino; Vasari, Giorgio Lives of the Most Eminent Painters, Sculptors, and Architects, Volume 3. Howards Burns, MArco Collareta and Davude Gasparotto, Valerio Belli Vicentino 1468 c. - 1546; Nicholas Goodison, Matthew Boulton: Ormolu. Provenance: Acquired by Marc Koven (1903-1970), of Koven Freres who mounted the rock crystal into a modern setting circa late 1960s ; U.S. private collection, acquired on the art market. This lot is sold under temporary import status.
A POSTCLASSICAL RED JASPER INTAGLIO. EROTIC SCENE. 19th - 20th century24x28x4 mmA fox is penetrating from behind a woman facing left, with her palms and knees on the ground. In front of her a large vase. Double ground line. Post-classical work on the ancient style. Traces of modern tools not pertinent to antiquity. Signs of wear and small natural defects on the stone surface.Provenance: From a private collection, France, acquired on the art market in the early 2000s
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