Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732)"The First Journey of Saint James the Greater to Hispania"Oil on canvas.99 x 124 cm. Beautiful painting of great historical and religious relevance, as it shows the first of James' journeys to Hispania, which left a lasting legacy in the region. This trip took place in the first century A.D. According to tradition, James was sent to Spain as one of Jesus' apostles to spread Christianity in the region. After the death of Christ, a passionate and impetuous James was part of the initial group of the early church in Jerusalem. In his evangelizing work he was awarded, according to medieval traditions, the Spanish peninsular territory, specifically the northwestern region, then known as Gallaecia. Some theories suggest that the current patron saint of Spain arrived in the northern lands via the uninhabited coast of Portugal. Others, however, trace his way through the Ebro valley and the Cantabrian Roman road. There are even those who claim that Santiago reached the peninsula by the current Cartagena, from where he started his journey to the western corner of the map.During his stay, it is believed that he performed numerous miracles and converted many people to Christianity.This journey of Santiago was of great importance for the history of Christianity in the Iberian Peninsula. His presence contributed to the expansion of Christianity in the region and laid the foundations for the subsequent evangelization of the peninsula.We say that this was James' first trip to Spain, since the second occurred centuries after his death. According to tradition, after his death in Jerusalem, his remains were taken to Hispania by his disciples. It is believed that they were buried in a place that would later become the city of Santiago de Compostela. That transfer of remains had a great impact on the region. His tomb became an important place of pilgrimage and attracted thousands of the faithful from all over Europe. The Camino de Santiago, a pilgrimage route that runs throughout the Iberian Peninsula, developed around his tomb and became one of the most important pilgrimage routes in the world.In an idyllic landscape, with rich and abundant vegetation, we can contemplate a pilgrimage path that circles the river -perhaps the Ebro River-, with a bridge crossing it. The pilgrims have serene faces, full of devotion, kindness and smiles, marked by the joy of the moment. They travel on horseback and on foot, and there is a group resting above, contemplating the temple they are approaching, surrounded by cypress trees. One stands out, James, also known in Spain as Santiago, mounted on an imposing black and white horse, the only one who, with his deep and penetrating gaze, looks directly at the viewer. The Saint stops or is stopped by another pilgrim, who rides his donkey, and both experience a spiritual and deep encounter, reflected in their faces and gestures. Their expressions are serene, with their hands intertwined. The one on the donkey kisses the hand of the saint with reverence and devotion, aware of the spiritual power of this miraculous encounter. Both the Apostle and he have their hats removed, as a sign of respect, humility and spiritual reverence.James' journey to Galicia symbolizes the spiritual connection between East and West, becoming a cultural and religious bridge that would mark the history of Spain. As for the artist, we believe this canvas was painted by Melchor Pérez Holguín, one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans.As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín, as we can see in the work we offer.
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LAWSON, J. Lectures concerning oratory. Ed. by E.N. Claussen & K.R. Wallace. (Facs. ed. 1758. 1972). Ocl. -- R.W. SMITH. The art of rhetoric in Alexandria. Its theory and practice in the ancient world. 1974. Owrps. -- R. STARK. Rhetorika. Schriften zur aristotelischen und hellenistischen Rhetorik. 1968. Owrps. -- M. FUMAROLI. L'age de l'eloquence. Rhétorique et "res literaria" de la Renaissance au seuil de l'époque classique. 1980. Owrps. -- A.D. LEEMAN. Orationis ratio. The stylistic theories & practice of the Roman orators, historians & philosophers. 1963. 2 vols. Ocl. -- And 8 o. (14).
Ca. AD 1 - 300. A matched pair of gold earrings, each composed of a central spherical pearl bead held between two gold wire loops and framed within a twisted gold ring. Below the bead is a ribbed trapezoidal gold plate from which two suspension loops hang, each terminating in a pearl dangle. The ear wire extends from the back and loops over the top through a small attachment ring.For similar see: F. H. Marshall, MA., catalogue of the Jewelry, Greek, Etruscan and Roman in the department of Antiquities British museum.cat. 2648, Plate LV.Size: 23-24mm x 45940mm; Weight: 4gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 250. A necklace formed of a series of 17 gold settings containing inset white glass elements with central ridges, framed by beaded wire. Between each pair of settings are short linking loops, and the lower edge of each unit is fitted with a double drop of small pearls suspended from U-shaped gold attachments.For similar see: Marshall, Catalogue of Jewellry Greek, Etruscan and Roman, 1911, Cat. 2749, 2730.Size: 120mm x 30mm; Weight: 18gProvenance: London collection; Ex. Mayfair collection, acquired from an Ancient Art gallery; formerly acquired on the London art market pre-2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
Ca. AD 1 - 300. A terracotta jug with a wide cylindrical body, sloping shoulder, and a short neck leading to a pronounced rim. A single arching handle connects the shoulder to the rim.For similar see: Monaghan, John. Roman Pottery from the Fortress: 9 Blake Street. York: York Archaeological Trust, 1997.Size: 90mm x 80mm; Weight: 180gProvenance: Private UK collection, acquired on the US art market; Ex. collection of James Wolfensohn, NYC., acquired from Perspective Ltd., Jean-Michel Gozlan, King David Street, Jerusalem, Israel, 1990s.
Ca. AD 1 - 300. A bronze fragment from a lifesize statue, preserving the right eye and part of the surrounding facial contours. The almond-shaped eye is deeply recessed with a sharply defined upper lid, incised iris, and delineated tear duct. The fragment retains part of the brow ridge and upper cheek area, with a smooth, slightly concave construction.For similar see: P. Zancher, Roman Portraits, Sculptures in Bronze and Stone, The Metropolitan Museum of Art, New York, Distributed by Yale University Press • New Haven and London. p. 1, or p. 61.Size: 95mm x 70mm; Weight: 150gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100-300. An oval carnelian intaglio engraved with a depiction of Eros riding a dolphin showing the nude figure seated astride the animal with wings extending behind his shoulders. The dolphin is shown in left profile, its head slightly raised and tail curled upwards, positioned above a series of curved lines representing waves. The intaglio is mounted within a broad gold bezel, flanked on either side by granulated spheres and scroll-shaped elements extending from the concave hoop.For similar see: The British Museum, Museum number 1987,0212.188; Richter G.M.A., Catalogue of Engraved Gems. Greek, Etruscan, and Roman, Plate XLII, nos. 313, 314.Size: D:17.93mm / US: 7 3/4 / UK: P; Weight: 6.46gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
Ca. AD 100 - 300. A red jasper intaglio engraved with a Gryllos motif, combining a bearded mask in left profile, an equine protome rising from the top, and a ram’s head facing right. This composite figure is supported on rooster legs. The intaglio is set within an oval bezel of a gold ring with a slender hoop that broadens slightly towards the shoulders.For similar see: The British Museum, Museum number 1814,0704.1468; Richter G.M.A., Catalogue of Engraved Gems. Greek, Etruscan, and Roman, Plate LXIII, nos. 541, 545.Size: D:19.76mm / US: 10 / UK: T 1/2; Weight: 9.78gProvenance: Private London collection; previously Denier collection, France 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
9ct gold ladies cocktail watch x 2 and one costume watch. Includes: Accurist, 17mm x 20mm 9ct gold case, 21 jewels, manual wind, gold plated bracelet, gross weight excluding movement 7.1 grams; Rotary, 21 jewels, 15mm 9ct gold case, silvered dial, baton hour markers, 9ct gold articulated bracelet, gross weight 14.2 grams, in case; Art Deco style cocktail watch, marked 'Emka', manual wind, 17 jewels, 14mm x 32mm stainless steel and marcasite case, Roman numeral and baton hour markers. (3)
WILLIAM SMITH: A HISTORY OF GREECE, FROM THE EARLIEST OF TIMES TO THE ROMAN CONQUEST. WITH SUPPLEMENTARY CHAPTERS ON THE HISTORY OF LITERATURE AND ART, London, John Murray, 1885. New edition [but lacking any coloured maps]. Disbound, upper board bearing initials of H R BROWN [name also stamped and struck through on ffep].1
A collection of Neil Carter Ancient and Modern doll's house figures to include Nefertiti head,Degas's ballet dancer, Art Deco figurine, Roman torso, Donnatello's David, blue / red studio pot and a wheel thrown pilgrim bottle with black satin glaze, a copy of a Liao Dynasty example of the 11th Century by Andrea Fabrega, together with a Sue Austin "Labrador and puppy" and "Cream cat", Sarah Schiff "Bassett hound 2003" and "Persian Blue cat 2003" and a bowl of dog food, together with a collection of three miniature decorated Native American pottery including large bowl, dish and wedding vase, two Canadian jade miniatures including a bear with a fish and a turtle and a small blue Jasper Wedgwood vase
youthful life-sized head with heavy-rimmed almond-shaped eyes and dimples at the corners of the lips, the hair arranged in short thick curls, with smaller curls clustering around the nape of the neck and the ears; The chiselled hair seen on this head is similar to that found on monumental statues of around 350 B.C. attributed to Skopas and also the early work of Lysippos. The intense expression of the face is similar to a life size marble head of a youth in the Metropolitan Museum of Art, acc. no. 11.91.1, which is suggested as resembling the style of the works of the 4th Century sculptor Skopas. For another similar head to the above lot dating to the 4th Century B.C., see M. Comstock & C. Vermeule, Sculpture in Stone, the Greek, Roman and Etruscan Collections of the Museum of Fine Arts, Boston, Boston, 1976, p. 44, fig. 62. The Boston head has been compared to the head of the Lysippic Agelaos at Delphi, circa 335 B.C.Size: H:19.5cm, With Stand H:32cm. The actual size of this head is 19.5cm, from the lowest section at neck. The 14.5cm on card is measued from chin at front. Provenance: Collection of Gabriele und Wolfgang Leiner, and thence by descent. Acquired in 1969 in Alanya for 1000 Deutschmark. Gabriele and Wolfgang Leiner are known for their historical research and editorial work, particularly on topics related to Wrttemberg history and historical documents from the region. They are the editors of Gottfried Tobias Ritter s Stuttgarter Tagebuch 1791
PLAS TEG LIBRARY: LARGE ASSORTMENT OF BOOKS, topics including Antiques, Art, Asian, Historical, Roman/Italian etc, within 6 boxesProvenance: The Cornelia Bayley Collection from the historic Welsh Jacobean house, Plas Teg, Flintshire. Further details on this important Jacobean house and its clearance Welsh House Clearance of a Generation — Rogers Jones Co
A GROUP OF CLOCKS, SCALES AND MISCELLANEOUS, included a Hermle wall clock, featuring Roman numerals on a white and gilt face, with key and pendulum, appears to still wind, eight-day art deco style mantel clock, with silver dial with black numbers and hands, no key, Boots Chemist cast iron brass scales with four weights, Tanita TLD-652 electronic scales, (not tested), also included a box with some silver plated items, a Prestige shockproof pocket watch, a pair of vintage cuff links featuring a shell design on a pearlescent background, and a boxed Pierre Cardin pen and mechanical pencil set, (qty) (Condition Report: items have signs of age wear, clocks not in working order and have sd in places)
MONTBLANC Füllfederhalter "PATRON OF ART GAIUS MAECENAS". 2548/4810 LIMITED EDITION. Weltweit ausverkauft. Korpus von Säulen römischer Tempel inspiriert aus marmoriertem Lack (Material, das das Römische Reich symbolisiert.), Kappe aus 925er Sterlingsilber, 18K GG Feder. Kappe mit erstem Vers von Horaz' Ode an Maecenas, und auf der Feder ein Kranz und römische Ziffer. Box, Umkarton und Booklet anbei. Sehr guter Zustand. | MONTBLANC fountain pen ‘PATRON OF ART GAIUS MAECENAS’. 2548/4810 LIMITED EDITION. Sold out worldwide. Body inspired by columns of Roman temples made of marbled lacquer (material symbolising the Roman Empire), cap made of 925 sterling silver, 18K GG nib. Cap with first verse of Horace's Ode to Maecenas, and a wreath and Roman numeral on the nib. Box, outer box and booklet enclosed. Very good condition.
Novo-Hispanic school. Mexico. 17th century.“Portraits of Alexander the Great and El Çid Campeador”Pair of oil paintings o canvas.180 x 102 cm each.An unusual pair of portraits of historical personages, that possibly belonged to a Castilian military emigrant, who admired the artist and commissioned them for his villa, mansion or palace.With rigid brushstrokes, each of which is at the same time detailed and personal, this artist of the Mexican School has painted faces with more indigenous features than those the portrayed characters would have had. And their breastplates are more typical of the time of the portrait than of the real attire that both would have worn. In both large-format canvases they are designated with their names, Alexander the Great and Osid (abbreviation of the time for El Çid), they reflect the hieratic and imposing triumphalism of both warriors, who were generals and conquerors.The portraits correspond to the viceregal pictorial tradition developed in New Spain during the seventeenth century which is linked to the production of official portraits and heroic representations, mixing European influences with a local reinterpretation of the symbols of power, as well as the need to legitimize the power and story of the Hispanic monarchy in Latin America.A portrait of Hernán Cortés, by an anonymous artist, kept in the Museo de las Culturas de Oaxaca, depicts the conquistador in richly decorated armor, holding a command staff, in a format that links him to the royal portraits of the House of Austria. This portrait shares technical and stylistic similarities with the two portraits we present here, which are possibly based on a larger series of historical and mythological characters, and which show Alexander the Great and El Çid, an emblematic figure in the history of Spain.The three paintings - the one in the museum and these ones in the auction - have solemn composition, with the figures standing, dressed in armor that evokes power and authority. The light comes from a main focus that accentuates the metallic gleam of the armor and facial features, generating a dramatism characteristic of the Baroque and suggesting the influence of 17th century Spanish courtly portraiture, where power was represented and manifested through rich clothing and military ostentation. Alexander the Great is depicted in golden armor ornamented with lion heads on the greaves, a symbol of his strength and connection to divine power. El Çid, with his sword drawn and a defiant gesture, emphasizes the heroic representation with epic overtones. The density of the brushstrokes on the faces refers to European models such as the portraits of Philip II and Philip III, adapted to a Novohispanic context.The visual elements that can be appreciated in the paintings reinforce the heroic condition of the characters: the richly decorated armor indicates nobility and military valor, while the attributes such as weapons, banners and shields refer to their warlike exploits. Alexander the Great appears with iconography reflecting the Renaissance tradition, underlining his image as a strategist and conqueror of empires. Born in 356 B.C., he was a conqueror who formed one of the greatest empires in history. Born in Macedonia, when it was a kingdom in the north of Greece, son of King Philip II of Macedonia, he inherited his father's throne after his death and expanded the territory as far as northern India. He defeated the Persian Empire and conquered a vast territory stretching from his native Greece to northern India. He spread Greek culture, which he would fuse with the cultures of the subjugated regions, language, politics, art, literature and religion.El Çid Campeador represents the idealization of the Christian knight, a model of virtue and bravery. Rodrigo Díaz de Vivar (Vivar?, 1048 - Valencia?, 1099), known as El Çid Campeador, was a Castilian military leader who came to dominate the Levant of the Iberian Peninsula at the end of the 11th century at the head of his own army. He conquered Valencia and established an independent lordship in the city from June 18, 1094 until his death. His wife, Jimena Díaz, inherited and maintained it until 1102, when it passed back to Muslim rule. Hero of Castile and crusader for the Reconquest, throughout his life, he placed himself at the orders of different warlords, both Christian and Muslim, fighting as his own master and for his own benefit. His deeds and actions were sung and recounted in Spanish literature in the so-called “Cantar de mío Cid” (Song of El Çid). His name, el Campeador, means expert in pitched battles and his name, El Çid, from the dialectal Arabic (-sidi-), means lord.Representations of Greco-Roman and medieval heroes in viceregal painting also served to consolidate the Creole identity, exalting models of bravery and leadership in a context of growing vindication of the local elites.Reference bibliography:- Burke, Marcus. (2004). "Retratos de poder en la Nueva España". México, INAH.- Gruzinski, Serge. (1993). "El águila y la Sibila: México barroco". FCE.- Museo Nacional de Historia, Castillo de Chapultepec. Inventario de pintura virreinal.- Toussaint, Manuel. (1965). "Pintura colonial en México". UNAM.
Jose Avitavilli (Peru, late 16th century - early 17th century)“Salus Populi Romani”, also known as ‘Our Lady of the Snows’.Tempera on linen canvas.127 x 95 cm.This *Our Lady of the Snows* is a significant testament to the development of religious art in the Viceroyalty of Peru during the late 16th and early 17th centuries. Its Marian iconography, technique, and composition place it in a transitional phase between the Mannerism introduced by the Society of Jesus and the consolidation of Andean Baroque, influenced by European artistic traditions and local aesthetic particularities.A stylistic and technical analysis of the painting allows us to associate it with the production of the circle of Bernardo Bitti (1548–1610), an Italian Mannerist master whose work had a decisive impact on the development of Peruvian viceregal painting. More specifically, we attribute this piece to José Avitavilli, his disciple and one of the principal exponents of Cuzco Mannerism, based on stylistic and documentary comparisons.José Avitavilli, one of Bernardo Bitti’s closest disciples in the Viceroyalty of Peru, is mentioned in colonial documents as an active collaborator in the restoration and production of Mannerist works in Cuzco and Upper Peru. His work has been documented in the decoration of Jesuit churches and convents, and his style reflects clear influences from Bitti but with a distinctive refinement in the execution of faces and the treatment of color. Historical sources indicate that Avitavilli worked on Marian themes, particularly in Cuzco and Potosí, where he is known to have painted pictures of the Virgin Mary that combine Mannerist elements with a polished technique.The painting we present coincides with his other work in several key aspects, such as the delicate modeling of faces with Italian influences, the use of tempera instead of oil—a distinctive feature in some of his works—and the balance between gilded ornaments and a sober composition, typical of late Mannerism.One of the most significant aspects of this painting is its close iconographic relationship with the "Our Lady of Antigua", preserved in Lima Cathedral and considered to be one of the first Marian images introduced to Latin America. Both paintings share fundamental characteristics, such as the frontal arrangement of the Madonna and Child, the use of the rose as a symbol of purity, the treatment of the face with delicate oval features, and the presence of an ornamental background with geometric and gilded elements.However, "Our Lady of the Snows" introduces Mannerist variations characteristic of the late 16th century, such as the stylization of the figures and a greater softness in contrasts between light and dark. The influence of Bernardo Bitti is evident in the delicate modeling of the faces, with a subtle use of light and shadow to create volume—a technique he learned in Rome before moving to the Americas.The fact that the "Virgin of the Antigua" was one of the first Marian images in the viceroyalty reinforces the idea that *Our Lady of the Snows* represents a more advanced reinterpretation of this model, with technical refinement and an aesthetic more influenced by Mannerism. Perhaps the version by Bitti at the Museo Convento de los Descalzos in Peru is the earliest example of this evolution.All this evidence allows us to propose José Avitavilli as the artist who painted this artwork, consolidating him as a key figure in the transition between Italian Mannerism and early Andean Baroque.One of the most unusual aspects of this painting is the use of tempera on linen canvas, rather than the traditional oil on canvas. The tempera technique, more common in mural painting and European altarpieces, involves mixing pigments with binders such as egg or animal glue, allowing for a more delicate application and a matte finish, less glossy than oil. This method was widely used in European Renaissance art, but its application on canvas is much less frequent.Linen as a support is also a particular choice, as most viceregal production was painted on cotton fabric or wood. This material provides a finer texture and allows for more precise details in drawing, which is reflected in the exquisite execution of the faces of the Madonna and Child. The state of preservation suggests that the tempera technique has contributed to the stability of the painting, avoiding the typical cracking seen in older oil paintings.An elegant and stylized version of the famous *Salus Populi Romani* (Protector of the Roman People), better known as Our Lady of the Snows, a name given in the 19th century to the Byzantine icon of the Virgin with the Child in her arms, traditionally attributed to early Christians.This iconographic composition designates this type of painting as "Theotokos", meaning etymologically “Mother of God,” or more literally, “the one who gave birth to God.” The Virgin Mary is depicted with a light blue mantle edged in gold. In her right hand, she holds a circular flower, the mystical rose with which she seals her covenant with the Roman people. Though she does not wear a crown, the halo of sanctity speaks of her distinction and benevolence, a holy woman full of light, shown as the "Regina Caeli". With her left hand, she tenderly embraces her son, offering him to the world, while the Christ Child rests, appearing as the Pantocrator. With his right arm slightly raised, the Child makes a gesture of blessing and holds in his left hand the orb or globe of the world, which he blesses and supports, unlike the original icon where he carries the Book of Life, the Word.Both Mother and Child appear against a curtained background that emphasizes the importance of the image. They look directly at the viewer, making us participants in their presence, gaze, and transformation. The red curtain in the background reinforces the sacredness of the moment and creates a theatrical frame that recalls the liturgical theater of the Counter-Reformation. This type of composition follows European models of Italian and Flemish influence, adapted to the viceregal context. The use of gilding in the embroidery and trim of the Virgin’s mantle, though restrained compared to 18th-century paintings, anticipates the taste for brilliance and ornamentation that would characterize later Cuzco painting.Bibliographic References:-Mesa, José de, y Gisbert, Teresa. Holguín y la pintura altoperuana del Virreinato. La Paz: Librería Editorial Juventud, 1977. -Gisbert, Teresa, y Mesa, José de. La tradición bíblica en el arte virreinal. La Paz: Librería Editorial Juventud, 1982. -Querejazu, Pedro. “La ‘Madona del pajarito’ de Bernardo Bitti: tratamiento de conservación y restauración”. Conserva, n.º 5, 2001, pp. 85-94. -Coello de la Rosa, Alexandre, y Abejez, Luis J. “Bernardo Bitti y Diego Martínez: dos protagonistas de la pastoral de la imagen en el Virreinato del Perú”. Archivum Historicum Societatis Iesu, vol. 92, n.º 183, 2023, pp. 5-30. - Stratton-Pruitt, Suzanne L. *The Virgin, Saints, and Angels: South American Paintings 1600-1825 from the Thoma Collection*. New Haven: Yale University Press, 2006.- Museo Convento de los Descalzos, Lima, Perú.
AFTER THE ANTIQUE- A WHITE BISCUIT PORCELAIN MODEL OF THE BORGHESE CENTAUR BY GIOVANNI VOLPATO (1735-1803), LATE 18TH CENTURY Impressed stamp to one side of plinth G. Volpato Roma 28cm high, base 18cm wide There are two Roman forms of these large centaur sculptures. The first are the 'Furietti' pair in Laconian grey black marble which were discovered during excavations at Hadrian's Villa in Rome during the 1720s. That pair were purchased by Cardinal Furietti, whose descendants sold the centaurs to Pope Clement XIII after which they were added to the Capitoline Museum collection. This form, with the young Eros figure riding on the back of the older of the two centaurs, was excavated in Rome in the 17th century and entered into the Borghese collection. Together with 694 other statues it was acquired from Camillo Filippo Ludovico Borghese by Napoleon in 1807 and is now held in the Louvre Museum. Working in white biscuit, Volpato mimics the white marble of the original and a pair of centaurs by Volpato are held in the Museum of Arts and Crafts Hamburg (1878.564.a). For a comparable pair of centaurs by Volpato please see Christie's New York, Important European Furniture, Works of Art, Ceramics, 21 May 2003 lot 99 (sold for $15,535 inc. buyer's premium). Condition Report: With engrained surface dirt throughout- resulting in browner patches- and odd fluorescence under UV. Cupid right foot and right wing repaired, lacking fingers to centaur's hand and section of rein/strap formerly over hand Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AFTER THE ANTIQUE- A BRONZE MODEL OF THE PERSONIFICATION OF THE RIVER NILE IN THE MANNER OF RIGHETTI, CIRCA 1820-1850 15cm high, base 27cm wide, 13cm deep Provenance: Agnew & Co 2019 Masterpiece Fair This bronze depicting the River Nile is a reduced version of a colossal Roman marble group found in 1513 in Campo Marzio where it was probably part of the decoration of the Iseo Campense. The composition is an allegory of fecundity with a cornucopia placed prominently near the reclining Nile, and the sixteen small children who cavort on and about the figure of the river symbolize the sixteen cubits by which the river rose annually, fertilizing the surrounding areas. The complexity of the composition, due in large part to the incorporation of the children, meant that reproductions in bronze are scarce. A simplified version, without the children, and possibly executed by Carlier and Buviette is held in The Huntington Library, Art Museum, San Marino California. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Modern scuff to laurel wreath above his face- some edge wear and patina rubbing but generally in fairly good condition for age and likely handling Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A MAHOGANY LONGCASE CLOCKINSCRIBED 'CLEAVD SALTER', HONITON, 18TH CENTURY AND LATERthe brass eight day movement with four tapering cylindrical pillars, with an anchor escapement and striking on a bell, the 11 inch brass dial with a silvered chapter ring with black Roman and Arabic numerals around a centre with a date aperture, engraved with a harbour scene and with a panel inscribed 'Cleavd Salter HONITON', the case with an arched hood and trunk door and a plinth base, with two weights and a pendulum213cm highProvenanceThe Howard Collection of Oak and Works of Art.
Pope-Hennessy (John). Italian Renaissance & Baroque Sculpture, 3 volumes, London: Phaidon, 1996, numerous colour illustrations, original cloth in dust jackets & slipcase, covers very lightly rubbed to head & foot, folio, together with:Turner (Nicholas), Roman Baroque Drawings c.1620-c.1700, 2 volumes, 1st edition, London: British Museum press, 1999, previous owner stamp to front endpaper, with numerous monochrome illustrations, original cloth in dust jacket and slipcase, 8vo, plusLópez-Ray (José), Velázquez Painter of Painters, 2 volumes, 1st edition, London: Taschen, 1996, numerous colour & monochrome illustrations, original cloth in dust jackets, covers lightly rubbed to head and foot, folio, andBerenson (Bernard), Italian Pictures of the Renaissance, A List of the Principal Artists and their Works..., 2 volumes, 1st edition, London: Phaidon Press, 1963, 1480 illustrations, original cloth in slipcase, 8vo, and other modern Renaissance art reference and related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (3 shelves)
A striking Art Nouveau lidded jar by P. Ipsen Enke, featuring a sculptural form with organic curves and raised relief decoration. The piece is adorned in rich brown and ochre glazes, characteristic of the era's flowing, nature-inspired designs. The underside bears the impressed P. Ipsen Enke mark, model number 705, and Roman numerals XVIII (18).Issued: 20th centuryDimensions: 4.25"HCondition: Age related wear.
Set of vintage prints on different subjects and by different designers. 1. Artwork by Frank Walmsley depicting a marketplace or a high street with shoppers walking along the stalls, Richardson's sign on the building, and a clock tower in the distance. Horizontal. Very good condition, minor creasing, minor staining. Country of issue: UK, designer: Frank Walmsley, size (cm): 44x64, year of printing: 1970s; 2. Wealth Of The Roman World Gold and Silver AD 300-700 exhibition at the British Museum from 1 April to 1 October 1977 featuring an illustration of a man on a horse fighting lions with a sword set over a silver background. Very good condition, minor creasing. Country of issue: UK, designer: Unknown, size (cm): 38x26, year of printing: 1977; 3. Wealth Of The Roman World Gold and Silver AD 300-700 exhibition at the British Museum from 1 April to 1 October 1977 featuring an illustration of a woman on a golden background. Very good condition, minor creasing. Country of issue: UK, designer: Unknown, size (cm): 38x26, year of printing: 1977; 4. Market Scene In A Northern Town by an English artist Laurence Stephen Lowry RBA (1887-1976) depicting men, women and children with pets and prams in a busy marketplace, with smoking chimneys of the buildings in the distance. Copyright 1973 Salford Museum and Art Gallery. Published by Patrick Seale Prints Ltd London. Horizontal. Fair condition, creasing, tears, staining, browning. Country of issue: UK, designer: L S Lowry, size (cm): 61x76, year of printing: 1973; 5. Chinese warrior riding on a tiger's back, resembling a painting of the Daoist deity Zhao Gongming riding a tiger, seen holding a gold ingot in his hand, he is referred to his identity as the God of Wealth. Fair condition, folds, creasing, tears, staining. Country of issue: Unknown, designer: Unknown, size (cm): 99x66, year of printing: Unknown; 6. Heathland, a commission from Barbara Nicholson (1906-1978) featuring images of heath vegetation, with various plants including gorse, bilberry, petty whin, common bent, wavy hair-grass, bristle bent, cross-leaved heath, heather, bracken, horse-hair fungus, fairy cakes, wood-sage, dodder, tormentil, and others. Copyright British Museum (Natural History). In the 1970s the Museum commissioned Barbara Nicholson to paint a series of educational posters to represent UK ecology and biodiversity. Horizontal. Good condition, creasing, minor staining. Country of issue: UK, designer: Barbara Nicholson, size (cm): 60x78, year of printing: 1970s.
Original vintage advertising poster for the French museum Centre Georges Pompidou Atelier de Recherches Techniques Avancees / Advanced Technical Research Workshop. The poster features an artwork Bouquet fleche - Arrow bouquet. It is a hand colored plotter drawing created by Christian Cavadia and Jean-Pierre Lihou at the ARTA-Centre Georges Pompidou using Tetronix 4052 and ARTA Interactive software. Jean-Pierre Hebert (1939 – March 28, 2021) was an American artist of French origin. He specialized in algorithmic art, drawings, and mixed media. He co-founded the Algorists in 1995 with Roman Verostko. From 2003 until his death, he held an artist-in-residence position at the Kavli Institute for Theoretical Physics (KITP) at the University of California, Santa Barbara. Very good condition, small tears, minor staining Country of issue: France, designer: Christian Cavadia, Jean-Pierre Lihou, size (cm): 97x69, year of printing: 1979.
A collection of loose Royal Mail First Day Cover and Stamp sets mainly late 20th / early 21st century examples to include Entertainer's Tale, Punch & Judy, Farmers' Tale, Total Eclipse, Sound and Vision, The Stamp Show Exhibition Souvenir, The Opening of Tallents House Edinburgh, Classic British Buses Double-Deckers, People and Place, Life and Earth, Soldiers Tale, Weather and Submarines etc., together with two albums of FDC's to include Art in the 20th Century, Roman Britain, Inland Waterways, The Story of Beatrix Potter, Sherlock Holmes and The Age of Steam etc.
Crusader - Gentleman's Art Deco 9ct gold case wristwatch, the rectangular white dial with Roman hour markers, seconds subsidiary, and blued steel hands, Birmingham, 1934, unsigned crown, hinged Dennison case back, signed 15 rubies manual wind movement, 22mm x 32mm (ex.crown), on a later strap, 14.1g gross approx. (ex.movement), with Carmichael Ltd., Hull, retailers box
Salvador Dali (1904-1989)"Return of Ulysses", 1977From the portfolio "Homage to Homer"Lithograph on paperSigned and numbered 170/350 Published by Levine & Levine, New York(American edition of 350 plus AP, international edition of E350 plus AP, edition for exclusive distribution by the artist 125 in Roman numerals)75,8x56,5 cm (papel/sheet)Certified on the reverse by Bruce Hochman, International Fine Art Appraisers.
Ptolemaic - Roman Period, Ca. 100 BC - AD 100. A collection of two strings of glass beads composed of barrel-shaped, biconical, and tubular forms in yellow and green tones, with surfaces featuring striated or marbled designs.For similar see: The Louvre Museum, Main number: AF 13413.Size: 440-460mm x 5-8mm; Weight: 45gProvenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ptolemaic - Roman Period, Ca. 100 BC - AD 100. A mosaic glass inlay in the form of a stylised snake head, composed of opaque yellow with contrasting red and dark glass details set within a cobalt blue matrix. The head features a circular red eye outlined in black, positioned above a series of black vertical lines resembling fangs. A red, curved element below forms an open mouth. Black diagonal markings extend along the upper surface towards the tapering end, interspersed with smaller black rectangles along the lower edge. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: Christie's, Live Auction 7758, The Groppi Collection, 26 April 2012, Lot 10.Size: 37mm x 18mm; Weight: 2gProvenance: Prince collection, 1990s-2014; Ex. Christie's, 26 April 2012, lot 7, Sale 7758, The Groppi Collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 300.A Roman cast bronze handle depicting the face of Apollo on its lower portion. A figure of a crane is depicted in profile on the middle part of the handle. The handle arches in a gentle curve to a duel terminal on the upper end, which is decorated with wings on each side. A thick loop projects from the top of the handle. For similar see: Christie's, The Royal House of Savoy (Live Auction 17486), Lot 76. Size: 105mm x 60mm; Weight: 105gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter..
Ptolemaic - Roman Period, Ca. 100 BC - AD 100. A rectangular mosaic glass inlay depicting a waterfowl, possibly a snipe, against a translucent grey-blue matrix. The bird is shown in profile with its head turned backward, preening its raised left wing. The long, brown beak extends forward, while the head and neck are rendered in red and yellow. The body features layered imbricated feathers transitioning from red and yellow to deep blue and white, with the tail in green and yellow. The wing is detailed with red, dark brown, and green flight feathers, and the underbelly is in yellow. The legs and webbed feet, positioned on a thin green baseline, are striped in red. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.Exhibited: Antikensmuseum Basel und Sammlung Ludwig und Museum August Kestner Hannover, Köstlichkeiten aus Kairo!, 2008, no. 28b.Size: 24mm x 20mm; Weight: 5gProvenance: Prince collection, 1990s-2014; Ex. Christie's, 26 April 2012, lot 12, Sale 7758, The Groppi Collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Roman or earlier, Ca. AD 100 -300. A solid gold bracelet composed of a thick, rounded core encircled by tightly coiled gold wire, creating a spiralled surface.Size: 70mm x 62mm; Weight: 160gProvenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 500 - 300 BC. A collection of three bronze vessels, each with a carinated body that transitions into a corseted neck culminating in a slightly flared rim. The angular profile is defined by a pronounced ridge encircling the midsection, separating the upper and lower sections.For similar see: Richter G. M. A., Greek, Etruscan and Roman Bronzes, Metropolitan Museum of Arts, 1915, Cat. 606, 607, 608.Size: 90-100mm x 70-80mm; Weight: 365gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1st - 2nd century AD.A translucent green glass urn with a rounded, globular body tapering towards a narrow base. Vertical ribs extend from the shoulder to the lower section. The wide cylindrical neck is accentuated by a thick, applied rim with a slight overhang.For similar see: The Metropolitan Museum of Art, Object Number: 81.10.15; Stern E.M., Roman, Byzantine and Early Medieval Glass, the Ernesto Wolf Collection, 2001, no. 86, p.195.Size: 155mm x 140mm; Weight: 325gProvenance: Prince collection, 1990s-2014; Ex. Jack-Philippe Ruellan. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 500 - 300 BC. A collection of three bronze vessels, each with a rounded body and a flanged lip. The profiles vary, with the one on the left featuring a more pronounced curvature, the middle one with a subtly defined shoulder, and the one on the right with a lower, more open form.For similar see: Richter G. M. A., Greek, Etruscan and Roman Bronzes, Metropolitan Museum of Arts, 1915, Cat. 606, 607, 608. Studi Etruschi XVIII, Heyes, The Etruscan and Italic Collection of R. O. M., Tav. XVI n. 1 e 2.Size: 130-140mm x 40-70mm; Weight: 445gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
New Kingdom, 18th - 20th Dynasty, Ca. 1550 - 1070 BC (Papyrus pot), Roman Period, Ca. 100 BC - AD 100 (Harpocrates). A mould-formed pottery papyrus pot with raised petal-like motifs encircling the base and two slender branches extending downward, each adorned with delicate petals. A pierced ring handle is present on the side. Accompanying the vessel is Harpocrates statuette, depicted in a relaxed pose and with a finger to his lips.For similar see: The Museum of Fine Arts, Budapest, Inventory number 84.288.A. Exhibited: The Lily Place Collection of the Minneapolis Institute of Art from 1928 to 1958 and at the Robert and Frances Fullerton Museum of Art (RAFFMA) at California State University, San Bernardino from 1998 to 2023 (Papyrus pot). The Minneapolis Museum of Art and the Los Angeles County Museum of Art (LACMA) (Harpocrates).Size: 80-100mm x 35-40mm; Weight: 115gProvenance: (left) Collection of Dr. W. Benson Harer, Los Angeles, California, USA; Exhibited in the Robert and Frances Fullerton Museum of Art (RAFFMA), California State University, San Bernardino from 1998 to 2023, reference number EL01.087.1998; Ex. Superior Gallery, Los Angeles, California, USA, 1976; Ex. L. Blumka collection, 1958; Ex. Minneapolis Institute of Art, bequeathed by Ms. Lily Place, 1928, ref. no. 28.189; Ex. Cairo Suq, Cairo, Egypt. (right) Dr. W. Benson Harer, Los Angeles, California, USA; Ex. Superior Gallery, Los Angeles, California, USA, 1976; Ex. L. Blumka collection, purchased in 1958; Ex. Minneapolis Institute of Art from 1928 to 1958, bequeathed by Ms. Lily Place, 1928, ref. nos. 28.24.162 and 25.327; Ex. Cairo Suq, Egypt; Published in "Temple, Tomb, and Dwelling", fig. 78b. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
A sophisticated Waterford Crystal fan clock, beautifully crafted with radiant cut patterns that capture and reflect light. This elegant timepiece features a gold-tone clock face with Roman numerals, encased in premium Waterford crystal. The timeless fan shape adds a touch of Art Deco-inspired luxury, making it a perfect display piece for any home or office. Marked Waterford Crystal on the clock face, ensuring authenticity.Issued: 20th centuryDimensions: 5"HCountry of Origin: IrelandCondition: Age related wear.
A contemporary David Fry large stoneware bowl, blue and subtle flambé glazed in heather tones of blue and purple embellished with a relief "Twin Fish", a Chinese emblem for good luck, harmony and marital bliss traditionally found on ancient Sung wares, inscribed mark, together with promotional materials, diameter 35 cm. [David Fry has over 50 years of experience creating unique works inspired by his love of English medieval and Oriental ceramics, he has studied at various institutions and art schools including Southend School of Art from 1967. His first studio was at Beamish Hall, County Durham, in 1974. He has exhibited widely and won multiple awards including the 1987 BBC Design Award, and has made several presentation pieces including one for HRH Princess Anne in 1994. He worked on the restoration project at Newcastle Arts Centre producing architectural ceramics features where he found a studio directly on top of a Roman Milecastle, his studio is now in North Tyneside. He specialises in stoneware and porcelain decorated with high-fired Chinese and Japanese glazes]
A collectors' lot, to include a 1970s Garrard stainless steel automatic watch head, the dial set with baton numerals and date aperture, dial diameter 3cm, with presentation inscription verso dated 1974, a Relide gold filled 17 jewel Incabloc cocktail watch, the dial set with baton and Arabic numerals, on a hinged textured bangle, a Rotary wristwatch, the dial set with baton numerals and day/date aperture, dial diameter 3cm, on a brown leather strap, a Sekonda Art Deco style stainless cocktail watch, the dial set with Roman numerals, on an expanding bracelet strap, a boxed Casio wristwatch, further watches, an Erhard & Sohne Art Nouveau brass tobacco jar, height 11cm, a Parker ballpoint pen, a silver plated snuffbox/vesta case, a small notepad with metal hinged case inscribed 'R.M.S. Baltic', and pages with the seven days of the week, a 'Borough of Denbigh Jubilee Celebrations 1935' medallion, a small quantity of UK and world coinage, to include pennies, 1966 two shilling coin, ten pence pieces, half pennies, etc, a modern bottle coaster, two tiny framed etchings of Koblenz, etc.
Transition-Vasenpendule66 x 34 x 25,5 cm.Gestempelt „Osmond“ für Robert Osmond (Canisy 1711-1789 Paris, Meister ab 1746).Paris, um 1760-1765.Funktionen: À jour gearbeitete vergoldete Zeiger für Stunden und Minuten, Schlag auf Glocke zur vollen und zur halben Stunde. Ein Pendel und ein Schlüssel vorhanden.Gehäuse: Bronze, gegossen, ziseliert und feuervergoldet. Der mehrstufige Sockel erhebt sich auf annähernd quadratischem Grundriss. An der Unterseite bildet er vier im Grundriss L-förmige Füße mit angedeutetem Mäandermotiv aus. Die darauf folgende hohlkelig eingezogene Zone weist allseitig eine oben halbkreisförmig eingeschnittene Rahmung mit fein punzierter Vierblatt-Füllung auf. An den drei Schauseiten sind üppige, plastisch ausgearbeitete Eichenlaubgirlanden mit Blättern und Früchten aufgehängt, welche in ihrem Ansatz Rosetten entspringen und U-förmig nach unten ausschwingen. Darüber erhebt sich eine glatte, zwei-stufige Sockelplatte, auf der die urnenförmige Vase steht. Deren unten von einem Lorbeertorus umsäumter Fuß ist stark eingezogen mit schräger Kannelierung und mündet in einem Schaftring. Robert Osmond (1711-1789) war ab 1735 als cieseleur-bronzier Lehrling in der Werkstatt von Louis Regnard. 1746 erhielt er seinen Meisterbrief und führte eine Werkstätte in der Rue des Canettes bei Saint Sulpice, bis er 1761 in die vornehmere Rue Macon umziehen konnte. Im Jahre 1766 unterzeichnete er die wichtige Erklärung der Pariser Maitres fondeurs über den Urheberschutz ihrer Modelle. Das Ende seiner beruflichen Tätigkeit ist wohl im Zeitraum zwischen 1770 und 1775 festzusetzen. Sein Inventar wurde 1789 nach seinem Tod erstellt. Ein dem hier angebotenen Exemplar nahestehendes Objekt wird im Musée Condé in Schloss Chantilly in der Nähe von Paris verwahrt. Zifferblatt: Weiß emailliert mit römischen Stunden, arabischen Minuten, Aufzugslöchlein neben der III und der IX, schwarze Signatur „Ferdinand Berthoud“.Anmerkung:Vergleichbare Uhren befinden sich in: Cleveland, Museum of Art, Inv.Nr. 1985.11 (publiziert in: Jean-Dominique Augarde, Les ouvriers du temps, Genf 1996, S. 254 f.Chantilly, Musée Condé (publiziert in: Hans Ottomeyer und Peter Pröschel, Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus, München 1986, S. 155, Abb. 3.1.2.).Literatur:Vgl. Roland de L‘Espée. Die Osmond, ein Familienbetrieb und seine Produktion, in: Hans Ottomeyer und Peter Pröschel, Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus, München 1986, Bd. 2, S. 539-547.Jean-Dominique Augarde, Les ouvriers du temps, Genf 1996, S. 255.Vgl. Svend Eriksen, Early Neo-Classicism in France, London 1874, Abb. 187.Vgl. Pierre Kjellberg, Encyclopédie de la Pendule francaise du Moyen Age au XX Siècle, Paris 1997, S. 212f. (1390083) (13)Transition Vase Pendule66 x 34 x 25.5 cm.Stamped “Osmond” for Robert Osmond (Canisy 1711-1789 Paris, master since 1746).Paris, ca. 1760 - 1765.Functions: Openwork gilt hands for hours and minutes, strike on bell on the full and half hour. With pendulum and a key. Case: Bronze; cast, chased and fire-gilt. The multi-tiered base rises from an approximately square layout. It is supported by four L-shaped feet with a hint of a meander motif on its underside. The subsequent hollow-shaped zone features a frame on all sides with semi-circular incisions on the top set with finely punched four-leaved filling. On the three display sides, opulent, three-dimensional oak leaf garlands with leaves and fruit are hung rising at their base from rosettes and swinging downwards in a U-shape. Above this is a smooth, two-tiered base plate which supports the urn-shaped vase. Its base, surrounded by a laurel torus at its foot, is strongly recessed with slanted fluting ending in a shaft ring. Robert Osmond (1711-1789) was an apprentice bronze-caster in the workshop of Louis Regnard from 1735. He became a master in 1746 and ran a workshop in the Rue des Canettes near Saint Sulpice until he was able to move to the more elegant Rue de Mâcon in 1761. In 1766 he signed the important declaration of the Parisian maîtres fondeurs regarding the copyright protection of their models. His professional career probably came to an end between 1770 and 1775. His inventory was made in 1789 after his death. An object close to the example on offer for sale here is held at the Musée Condé in The Château de Chantilly near Paris.Dial: White enamel with Roman hours, Arabic minutes, winding holes next to the III and IX, black signature “Ferdinand Berthoud”.
Mary Swanzy HRHA (1882-1978) Pont Du Gard Oil on canvas, 53.3cms x 45.7cms (21" x 18") Signed lower left, and versoProvenance: With Pyms Gallery, London, label versoMary Swanzy was a keen traveller for much of her life, so perhaps it is not surprising that she found the inspiration for most of her best work during time spent abroad. That includes a visit to Eastern Europe and, most famously, the South Seas, but also Paris and the South of France (the latter, notably, in 1918). A notably strait-laced individual, her temperament seems at odds with the bohemian circles in which she worked in Paris: she seemed to relax considerably in warmer, more laid-back environments. On her way back from her South Sea trip, stopping off with a friend in Santa Barbara in 1924 to paint for a time, she wrote to Sarah Purser, responding to the idea of visiting Spain: “…for painting, I still long for the tropics.” Perhaps, she suggested, Purser could explore Ceylon with her. “However,” she continues “if one could recapture the rapture of those…days in Provence, one would be tempted.”Van Gogh and, perhaps more than any artist, Cezanne, had established Provence as essential painterly terrain, and Swanzy was recurrently drawn to the South of France, spending time in St Tropez, Grasse and Nimes - the location for this fine painting - and more. Highly regarded in France, she exhibited regularly in avant garden circles. Location and style are often the best way to date her work, and the exceptional freedom and direct observation evident in this work with its atmospheric celebration of warmth and light, seeming to evoke the “rapture” she mentions to Purser, place it apart from her sustained exploration of a form of Orphic Cubism, close to the work of Ukrainian-born Sonia Delaney, (nee Stern) and her husband Robert.It’s reasonable to infer the influence of Cezanne in the colour palette, broad brushstrokes and volumetric organisation of the elements of landscape, with the celebrated Roman aqueduct on the Gardon River mentioned in the title (though the actual structure is simplified in the painting).Born in Dublin (her father was instrumental in establishing the Royal Victoria Eye and Ear Hospital), she attended Alexandra College with spells in France, Germany and Switzerland, going on to the Metropolitan School of Art and studies in Paris. Her family envisaged her becoming a portrait painter but she was reluctant if more than capable (society would not take a woman seriously as a portrait painter, she felt). She exhibited widely and consistently even as she travelled. From around 1926 she lived in London while continuing to exhibit in Ireland. Her later work took a dark, allegorical turn, with Surrealist elements and a tendency towards obscure, fantastical symbolism.Aidan Dunne, February 2025
After Salvador Dali (Spanish, 1904-1989). Color lithograph titled "Le Grand Pavon," published in 1996 in conjunction with Brana Fine Art after the original painting that was then owned by Doug and Alice Alsobrook. From a total edition of 220; here numbered in Roman numerals XXIII/LXXV (13/75). The paper had been pre-signed by Dali for Levine and Levine prints that were never published; the signature appears in the lower right of the sheet.Reference: Field 219 (Appendix Q).Sight; height: 28 3/4 in x width: 19 1/2 in. Framed; height: 39 1/2 in x width: 30 in x depth: 1 3/4 in.Condition: The colors are bold and bright. There are no major visible tears, losses, or signs of restoration. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
WILLIAM LINNELL (BRITISH 1826 - 1906), FLOCKS FROM THE MOUNTAIN oil on canvas, signed and dated 1871, titled label verso framedimage size 102cm x 158cm, overall size 122cm x 178cm Handwritten labels verso Provenance: Private Scottish collection.Note: William Linnell was a British painter and draftsman. London born, he was the son of the painter John Linnell (1792-1882). Linnell is particularly noted for his 1840 drawing of Smugglerius, which is an écorché sculpture of a man posed in imitation of the ancient Roman sculpture known as the Dying Gaul. His work is held in the permanent collection of the Fitzwilliam Museum at Cambridge University, the Tate Museum in London, and the National Gallery of Art in Washington, D.C..
A TERRACOTTA BUST OF A ROMAN SENATOR PROBABLY ENGLISH, 18TH CENTURY 44.5cm high Provenance: Works of Art from the collection of the late Roger Warner Esq, offered by his family Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Historic and more recent repairs to breaks and damages. Firing vents to reverse and back of head- dirt to surface Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
AN IMPRESSIVE GEORGE III GILT METAL MOUNTED MUSICAL AUTOMATON CENTRE SECONDS CALENDAR TABLE CLOCK UNSIGNED, LONDON, CIRCA 1790The substantial six pillar triple fusee bell-striking movement with plates measuring 8.75 by 7.25 inches and verge escapement regulated by lenticular bob pendulum incorporating unusual vertical rack slide regulation to suspension, the musical train playing a choice of six tunes on eleven bells with eleven hammers, via a 3.5 inch long 2.5 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, every three hours after the sounding of the hour bell, the backplate engraved with a delicate arrangement of symmetrical rococo scrollwork around a central small basket of flowers within a scribed-line outer border, the 8 inch arched dial with circular fired white enamel Roman numeral chapter disc with Arabic five minutes beyond the outer minute track, with pierced brass hands and blued steel arrow sweep centre-seconds hand set within a moulded bezel surround, the spandrel areas with four fired enamel subsidiary dials, FASTER/SLOWER opposing selection for six tunes HORNPIPE/SANDY OF THE LEE/HELEN MACHREE/ROBIN GRAY/MINUET/HORNPIPE to the upper quadrants, over date-of-the-month opposing STRIKE/SILENT to the lower, within polychrome floral spray decorated verdigris painted infill, beneath arch composed with a realistically painted pair of red-brick townhouses flanking an aperture revealing ten parading figures modelled as actors, musicians and acrobats passing back and forth in front of three panels of glass spinning rod 'waterfall' automata, incorporating curved niche profile to the central bay of the backdrop and set within naturalistic leafy surrounds, the apex of the arch also bordered with painted representation of gathered drapery, the gilt brass mounted ebonised case with large fire-gilt figural surmount cast and chased as Mars wearing a feather-plumed helmet, armour and a cape, stood with the three-headed Cerberus on an oval plinth flanked by two further smaller figures of Classical maidens, over repeating leaf draped capping to the bell-top superstructure applied with rams-head adorned martial trophy decorated festoon mounts and lions masks at the angles to the concave sections, raised over a repeating rosette decorated gilt brass diamond lattice sound fret frieze flanked by further figural finials cast as Mars opposing a king applied to the corners above the ogee over concave top mouldings, the opening front with leaf cast fillet moulding bordering the glazed dial aperture surmounted by mask-centred husk swag decoration and applied with a generous martial trophy mount to lower rail, flanked by lions masks issuing further pendant husks and martial trophy motifs over stags head mounts to the canted angles, the sides with generous hinged carrying handles over rosette decorated gilt diamond lattice pierced arched sound frets and martial trophy mounts to lower margins, the rear matching the front, on cavetto moulded skirt base with generous acanthus scroll cast and chased supports.88cm (34.5ins) high, 35.5cm (14ins) wide, 28cm (11ins) deep. Although unsigned, the present lot does exhibit strong similarities with examples from the workshop of Francis Perigal who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company on 1781, serving as Master in 1806 and dying 1824. Most notable amongst these features are the layout of the music work (transverse barrel set to the upper left of the backplate), use of fired enamel (both for the chapter disc and the subsidiaries), provision of sweep centre seconds set between the hour and minutes hands, and extensive use of glass-rod 'waterfall' automaton. Indeed, all of these elements can be seen in an example by Perigal sold at Christies, King Street, London sale of Magnificent Clocks 15th September 2004 (lot 16). The 'vine engraving' on the backplate can be also be closely compared to that on a table clock by George Margetts illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 371 (Figure 20.4). Amongst the tunes is 'Auld Robin Gray' which is a Scottish ballad written by Lady Anne Lindsay in 1772; 'Sandy o'er the Lee' is also noted as 'Mr Baird's Favourite Reel' in Niel Gow's A Second Collection of Strathspey Reels of 1788. The extensive use of Martial motifs within the mounts of the present clock would suggest that it was originally supplied to a client with strong military connections; possibly for a regimental institutional or perhaps a wealthy member of the military class. Condition Report: CONDITION REPORT AVAILABLE ON REQUEST FROM THE DEPARTMENTCondition Report Disclaimer
Y A WILLIAM III SILVER MOUNTED EBONY TABLE CLOCKTHOMAS HERBERT, LONDON, CIRCA 1695The six finned and latched twin chain fusee movement now with anchor escapement and later system of 'three-in-two' quarter striking on two bells, sounding ting-tang for the quarters and single blow on the larger bell at the hour, the backplate finely executed and attributed Tompion's engraver 'Graver -155' with symmetrical foliate scrollwork incorporating festooned bell-flower swags over a shaped cartouche signed Thomas Herbert, LONDINI within a broad engraved laurel band outer border, the 6.25 inch square brass dial with finely matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced sculpted steel hands, applied cast silver winged cherub mask spandrels to angles and N/S strike/silent selection switch at twelve o'clock, the ebony veneered case with foliate-bud tied hinged silver carrying handle to the domed caddy surmount applied with silver repousse foliate scroll pierced mounts to front and sides, over double ogee top mouldings and silver foliate scroll pierced repousse lozenge sound fret to the upper rail of the front door, the uprights with unusual twin mask and winged scroll decorated silver escutcheon mounts, the sides with conforming lozenge repousse sound frets over rectangular windows, the rear with rectangular glazed door set within the frame of the case applied with further matching escutcheon mounts, on ogee moulded shallow skirt base with moulded squab feet, (formerly with verge escapement and hour striking with pull-quarter repeat work).33cm (13ins) high with handle down, 24cm (9.5ins) wide, 15cm (6ins) deep. Thomas Herbert is recorded in Loomes, Brian Clockmakers of Britain 1286-1900 as born around 1651 and becoming a Free Brother of the Clockmakers' Company in 1676, having possibly previously gaining his freedom of the Needle Makers' Company. In 1676 Thomas Herbert was appointed 'Watchmaker and Clockmaker in Extraordinary' to the King (Charles II), and Married Sarah East (daughter of the clockmaker Edward East) at Knightsbridge Chapel in December of that year. He is subsequently noted as the 'King's Clockmaker' when he took as an apprentice Evan Herbert in 1680; and then as the 'Queen's Clockmaker' when accepting John Okey as an apprentice in 1693. In 1699 Thomas Herbert petitioned to the Crown for payment of his account for watches 'furnished for the Pages of the Bedchamber' and was paid £9 15s 6d for work undertaken at Hampton Court in 1702. Three years later Thomas Herbert was awarded £100 per annum 'in lieu of such bills as he did annually make for mending, cleaning and taking care of her Majesty's clocks and watches...'. Further requests 'in regard of his great poverty' were made on 1708, and in 1713 a telling record notes 'to be paid to Thomas Herbert for half a year's salary due Midsummer 1701, as clockmakers to King William III, by general letters of privy seal'. Loomes does not record his date of death, but it is likely that it was fairly soon after this date due to his advancing years. The engraved decoration to the backplate of the present lot can be closely compared to the backplates of 'The Selby Lowndes Tompion' (no. 217) and 'The Medici Tompion' (no. 278) illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages 239-40 (Figures 13.24 and 13.25). Most notable is the strong similarities within the rendering of the foliate scrollwork with 'larger more luxuriant leaves' than often seen, as well as the delicate bell-flower festoon swags. The Signature script also has strong similarities especially within the calligraphy for 'LONDINI'.Although the movement of the present clock has had historic alteration to the mechanism it does present as a very attractive scarce silver mounted example by a fine and rare maker, which could be brought back to working condition in its present form without a great deal of expense. Or, conversely, presents as a tantalising project for restoration back to its original specification. Condition Report: As catalogued the movement has been altered in the 19th century from hour-striking with pull-quarter repeat to 'three-in-two' ting-tang quarter striking; the strike train has also been converted form verge escapement regulated by short bob to anchor regulated by lenticular bob. Hence, due to these alterations, all wheelwork above the fusee for both trains has been changed/renewed. In addition to this there are a series of filled holes to both plates as well as additional filled slots to the frontplate. The going train is currently not running as the fusee chain is detached at the fusee end; the chain however appears not to be broken and the train itself free form visible damage. The spring will 'tighten' when the barrel is rotated however we cannot vouch for the overall integrity of the mainspring. The strike train is in working condition but is a little lazy and will probably require some adjustment. Two of the movement pillars have lost their latches (one is pinned and the other has been filed flush with the frontplate) and the strike-side lower pillar has some slight marking from the chain becoming detached from the fusee. The dial is in good original condition with no visible evidence of notable alteration except for al, the feet now being pinned rather than latched and the hour hand being repaired at its tip. The chapter ring has overall oxidation/mellowing. The case is generally in sound original condition. The caddy superstructure has some noticeable cracking within the veneers visible within the front and rear surfaces. The interior of the caddy also has brass reinforcements to the handle fixings, hence it is possible that the caddy has become detached at some point. The corners have neatly filled holes to the top edges suggesting that finials were fitted at some point. The mask around the dial (behind the front door hence only visible when door is open) has some shrinkage cracking and veneer patch repairs to the overlap. The lower right-hand joint of the front door is also a little loose. The right-hand side has some veneer cracking and wear around the upper fret aperture and the left hand has similar cracking and a small veneer patch repair. The rear door has a veneer patch repair adjacent the key escutcheon mount and the lower rail has been scooped-out (along with a small amount to the surrounding frame beneath) to allow clearance for the swing of the larger later lenticular pendulum bob. The rear edge of the seatboard is also cut with a slot for the same purpose. The front right hand corner of the seatbaord and the base of the case is cut with a slot aperture most likely to allow for a pull-quarter repeat lever which is no longer present. The silver mounts are all in good condition. The locks and hinges appear original however the feet are replacements. Faults to the case are otherwise very much limited to crack in the left-hand side glass, minor bumps, scuffs and shrinkages.Clock has a case key but no winder. Condition Report Disclaimer
A GEORGE II/III POSTED THIRTY-HOUR WEIGHT-DRIVEN WALL ALARM TIMEPIECEUNSIGNED, SOUTHERN ENGLAND, MID 18th CENTURYThe posted frame with rectangular section corner uprights rivetted to both the top and bottom plates enclosing three-wheel going train incorporating anchor escapement for regulation by long pendulum swinging behind the frame to the rear, with crown-wheel weight-driven alarm mechanism applied to the inside of brass backplate sounding on bell mounted above the top-plate via a t-shaped vertically pivoted hammer, the rectangular dial with silvered Arabic alarm setting disc to the rococo foliate scroll engraved centre within 5.75 inch applied silvered Roman numeral chapter ring with diamond lozenge half hour markers, with steel fleur-de-lys hand beneath applied pierced and engraved dolphin fret and a bell surmounted by a brass ball-and-spire finial, mounted on a later mahogany wall bracket with break-arch back panel applied with shaped side brackets supporting a rectangular table over double-scroll outline base.The clock 24.5cm (9.75ins) high, 14.5cm (5.75ins) wide, 13.5cm (5.25ins) deep including pendulum crutch, the clock on bracket 41cm (16.25ins) high, 18cm (7ins) wide, 14cm (5.5ins) deep. Although unsigned the style engraving to the centre of the dial would suggest that the present timepiece was made in Southern England during the middle of the 18th century. Indeed, related engraving seen on table clock backplates is described in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 within the chapter titled Vine Engraving, 1740-1770 (pages 337-357). Condition Report: The trains both appear all-original with the only exception being the escape wheel collet suggesting that the wheel has been off its arbor at some time (possibly to make an adjustment for wear?) The pinions show noticeable wear however timepiece is in working order although a precautionary gentle clean/service is advised; the pendulum crutch is probably a replacement. The hand, fret, bell and finial are later replacements; each side of the top plate has two spare threaded holes suggesting that side frets were also fitted. Single pin holes to the centre of both sides of the top and bottom plates also indicate that side panels were also fitted (pinned into place) at some point. The wall bracket has residue form parcel tape (used by a previous removal company) which should be fairly straightforward to remove. Timepiece has weights for both the strike and alarm trains but no pendulum. Condition Report Disclaimer
A GEORGE II BRASS MOUNTED EBONISED QUARTER-CHIMING TABLE/BRACKET CLOCK WITH TRIP REPEATJOHN ELLIOTT, EXETER, MID 18th CENTURYThe substantial five (formerly six) pillar movement with plates measuring 8.25 by 7 inches, sounding the quarters on a graduated nest of eight bells and striking the hour on a further larger bell, now with anchor escapement regulated by lenticular bob pendulum incorporating pivoted rise/fall regulation arm to suspension, the backplate engraved with a basket of fruit within symmetrical foliate vine scrollwork centred by a large gadroon-bordered shaped cartouche signed John Elliott, Plymouth, the 8 inch brass break-arch dial with shaped false bob aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute ring, with scroll-pierced steel hands and applied female mask and scroll cast spandrels to angles with the upper interrupted by subsidiary Strike/Silent selection and regulation adjustment dials, the arch further date of the month dial flanked by strapwork scroll cast mounts, the ebonised case with five brass disc-and-spire finials to the inverted bell-top superstructure incorporating brass mouldings at the junction between each section, over brass-edged double cavetto top mouldings and opening front inset with brass fillet mouldings to the glazed dial aperture and scroll pierced and engraved upper quadrant frets flanked by brass bound rounded angles, the sides with hinged cast brass handles over concave-topped rectangular scroll pierced and engraved sound frets centred with a basket of flowers over a stylised lions mask within brass fillet surround, the rear with conforming rectangular break-arch glazed door set within the frame of the case, on two-tier cavetto moulded skirt base edged in brass over generous cast ogee bracket feet.57.5cm (22.75ins) high, 35cm (13.75ins) wide, 23cm (9ins) deep. Very little of John Elliott of Plymouth is known with only his marriage, in November 1732, being recorded. As was the tradition for clockmakers to marry after completing their apprenticeship this would suggest that he was born in around 1710. The engraving to the backplate of the present clock broadly conforms to designs illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS - Art on a Canvas of Brass 1660-1800 pages 301-03 (Figures 17.8-17.10) which would date the present lot to around 1740-50. Condition Report: Movement is complete and in good original condition with the only noticeable replacements being the escapement and the going train third wheel. The going train will run however both the strike and quarter trains are presently not functioning. Both of these trains appear intact, unaltered and will wind; they will just about operate with manual assistance but will not trip/run when hands are advanced. As the movement is somewhat dry/dusty a gentle clean/service and some adjustment will be required before it can be put to use. The movement is generally well made/finished and generally exhibits minimal wear or rebushing etc.; there is no trip-repeat line fitted at present. The dial is generally dull/discoloured with mellowing to the castings and patchy oxidation to the silvering. The centre has two smallish plugged holes within the matting (near the IIII and VIII numerals) almost certainly left over from fixing an arched silvered signature plate which is no longer present. As with the movement the dial is of good quality and well finished. The case is generally in good original condition. The caddy superstructure has some slight veneer shrinkage only, as does the front door which opens to reveal only a couple of small losses/repairs and cracking to the veneer overlap of the mask bordering the dial. Both sides have some shrinkage cracking with the most notable being to the rail beneath the fret aperture to the left-hand side; otherwise are in good original condition although the frets are somewhat tarnished/discoloured. The rear door, surround and skirt base are all in good original condition with only slight wear and other age-related blemishes evident.Generally a well made clock in very sound original condition (except for the escapement) which has a pendulum, case key and a winder. Condition Report Disclaimer
A Butterfield type sundial, silver, engraved decoration, black Roman and Arabic numerals for four latitude scales, with indication on the back of the latitudes of 18 cities, French, 18th C. (1st quarter), non-original needle, wcase, marked BUTTERFIELD A PARIS, marked silver, without Portuguese marks, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2nd, no. 2, paragraph c), Dim. - 6 x 5,5 cm; Peso - 21 g.
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