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Ancient Art, Antiquities, Natural History & Coins
Hollow-formed ceramic oil lamp with two nozzles flanking a low-relief menorah with fronds and bunches of grapes in high-relief; underside with impressed wreath detail. 120 grams, 86 mm
Formerly in North American collection, 1990s.
From the collection of a London, UK, gentleman.
Accompanied by a thermoluminescence analysis report no.N124k39 from Oxford Authentication.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12396-225409.
Cf. Lund, J., 'A synagogue at Carthage? Menorah-lamps from the Danish excavations' in Journal of the Roman Archaeology, vol.8, 1995, pp.245-262.
Formerly in North American collection, 1990s.
From the collection of a London, UK, gentleman.
Accompanied by a thermoluminescence analysis report no.N124k39 from Oxford Authentication.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12396-225409.
Cf. Lund, J., 'A synagogue at Carthage? Menorah-lamps from the Danish excavations' in Journal of the Roman Archaeology, vol.8, 1995, pp.245-262.
.jpg "Late Roman Bronze Oil Lamp with Gryphon Handle and Stand")
Sold for (Inc. bp): £20,800
Comprising a rounded lamp with carinated body and elongated nozzle emerging from a lotus flower, a dolphin perching on top of one of the petals, the nozzle formed as an eight-pointed star with projecting knobs; a raised Chi Rho symbol to both sides of the body and a hinged lid to the top; the upcurving handle formed as a gryphon head emerging from the stem of a lotus flower, the gryphon holding a round object in its open beak, the mane formed of four spikes topped with spheres, carrying a Chi Rho topped with a dove between its ears; later modified to mount on a balustered tripod stand with lion's paw feet, reel-shaped drip tray and a tapering pricket to accept the lamp. 4.21 kg, 47 cm high
German art market.
European private collection, 1970s-early 2000s.
Acquired from the above; thence by descent.
Private collection, London, UK.
Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12347-225589.
Cf. Ross, M., Catalogue of the Byzantine and Early Mediaeval Antiquities in the Dumbarton Oaks Collection, I: Metalwork, Ceramics, Glass, Glyptics, Paintings, Washington D.C., 1962, pl.XXV, no.30; Comstock, M.B. (ed.), Romans and Barbarians, Boston, 1976, p.177, no.196, similar example with dolphin; Buckton, D. (ed.), Byzantium, the Treasures of Byzantine Art and Culture from British Collections, London, 1994, pp.108-9, no.119, for similar type of stand; Bailey, D.M., A catalogue of the lamps in the British Museum, IV, Lamps of metal and stone, and lampstands, London, 1996, no.Q3831, for near identical specimen but without a dolphin, and for another similar Q3832.
German art market.
European private collection, 1970s-early 2000s.
Acquired from the above; thence by descent.
Private collection, London, UK.
Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12347-225589.
Cf. Ross, M., Catalogue of the Byzantine and Early Mediaeval Antiquities in the Dumbarton Oaks Collection, I: Metalwork, Ceramics, Glass, Glyptics, Paintings, Washington D.C., 1962, pl.XXV, no.30; Comstock, M.B. (ed.), Romans and Barbarians, Boston, 1976, p.177, no.196, similar example with dolphin; Buckton, D. (ed.), Byzantium, the Treasures of Byzantine Art and Culture from British Collections, London, 1994, pp.108-9, no.119, for similar type of stand; Bailey, D.M., A catalogue of the lamps in the British Museum, IV, Lamps of metal and stone, and lampstands, London, 1996, no.Q3831, for near identical specimen but without a dolphin, and for another similar Q3832.
.jpg "Roman Bronze Jug with Handle")
With bulbous body and short neck with thickened rim, low foot with concentric circles to base; the re-affixed handle with an actor's mask to the base and incised petals beneath the thumbpad. 563 grams total, 11.7-15 cm
Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
Accompanied by a copy of an Art Loss Register certificate no.S00050269.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12397-226686.
Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, item 291, for similar with less bulbous profile..
Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
Accompanied by a copy of an Art Loss Register certificate no.S00050269.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12397-226686.
Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, item 291, for similar with less bulbous profile..
Sold for (Inc. bp): £16,900
Hollow-formed life-size club with tubular handle and flared rim, shank with series of regularly-placed knop projections on piriform pads, domed end; mounted on a custom-made display stand. 4.73 kg total, club: 55 cm
Formerly in North American collection, 1990s.
From an Austrian collection, acquired in London from UK collector in early 2000s.
From a London gentleman's collection, 2000s.
Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12345-225411.
Cf. Rolland, H., Bronzes Antiques de Haute Provence XVIII, Paris, 1965, no.100, for a figure with similar example; for the iconography of Hercules with such club see Reinach, S., Répertoire de la statuaire grecque et romaine, Paris, 1897, p.207, no.8, 208, nos.6,8; the typology is the one of the Hercules Capitolino (Capitolini Museums, inv. MC1265) or Farnese, where the hero is resting upon his club, see Reinach, 1897, pp.209ff.; Haskell, F., and Penny, N., Taste and the Antique: The Lure of Classical Sculpture 1500-1900, Yale, 1981, p.227, Cat.no.45.
Like the famous statue of Hercules in gilded bronze (the so called Hercules from the Forum Boarium), today at the Capitoline Museums (Palazzo dei Conservatori), this club would have come from a temple dedicated to the Greek hero. The Mastai Hercules, at the Vatican Museum, shows a similar club. The presence of a large handle in our piece confirms that the club was held with the right hand in resting position, and that the typology of Hercules was probably one of the two models.
Formerly in North American collection, 1990s.
From an Austrian collection, acquired in London from UK collector in early 2000s.
From a London gentleman's collection, 2000s.
Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12345-225411.
Cf. Rolland, H., Bronzes Antiques de Haute Provence XVIII, Paris, 1965, no.100, for a figure with similar example; for the iconography of Hercules with such club see Reinach, S., Répertoire de la statuaire grecque et romaine, Paris, 1897, p.207, no.8, 208, nos.6,8; the typology is the one of the Hercules Capitolino (Capitolini Museums, inv. MC1265) or Farnese, where the hero is resting upon his club, see Reinach, 1897, pp.209ff.; Haskell, F., and Penny, N., Taste and the Antique: The Lure of Classical Sculpture 1500-1900, Yale, 1981, p.227, Cat.no.45.
Like the famous statue of Hercules in gilded bronze (the so called Hercules from the Forum Boarium), today at the Capitoline Museums (Palazzo dei Conservatori), this club would have come from a temple dedicated to the Greek hero. The Mastai Hercules, at the Vatican Museum, shows a similar club. The presence of a large handle in our piece confirms that the club was held with the right hand in resting position, and that the typology of Hercules was probably one of the two models.
.jpg "Roman Marble Torso of Aphrodite")
Sold for (Inc. bp): £9,750
Carved in the round as a torso of a slender female with hips turned, probably in contrapposto pose; mounted on a custom-made display stand. 23.4 kg total, 44 cm including stand
Ex private collection.
with Artemis Gallery, Munich, Germany, early 1990s.
Acquired from the above, 1999.
Private European collection.
Accompanied by an academic report by Dr Raffaele D'Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12101-218196.
See Pryce, F.N., Smith, A.H., Catalogue of Greek Sculpture in the British Museum, London, 1892-1928; cf. Jules Formigé, ‘Note sur la Vénus d'Arles’, in Comptes rendus des séances de l'Académie des inscriptions et belles-lettres, 55,8, 1911, pp.658-664; La Rocca, E., Le tranquille dimore degli dei (catalogo mostra), Roma 1986, pp.79-82, on the Esquiline Venus; Favaretto, I., Menegazzi, A., Un museo di antichita’ nella Padova del Cinquecento. La raccolta Marco Mantova Benavides all’Universita’ di Padova, Roma, 2016.
Ex private collection.
with Artemis Gallery, Munich, Germany, early 1990s.
Acquired from the above, 1999.
Private European collection.
Accompanied by an academic report by Dr Raffaele D'Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12101-218196.
See Pryce, F.N., Smith, A.H., Catalogue of Greek Sculpture in the British Museum, London, 1892-1928; cf. Jules Formigé, ‘Note sur la Vénus d'Arles’, in Comptes rendus des séances de l'Académie des inscriptions et belles-lettres, 55,8, 1911, pp.658-664; La Rocca, E., Le tranquille dimore degli dei (catalogo mostra), Roma 1986, pp.79-82, on the Esquiline Venus; Favaretto, I., Menegazzi, A., Un museo di antichita’ nella Padova del Cinquecento. La raccolta Marco Mantova Benavides all’Universita’ di Padova, Roma, 2016.
Depicted nude and shown from behind, his right arm raised and face shown in profile. 3.45 kg, 24 cm
Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
Featuring a female face shown in three-quarter view with short locks framing her face, full lips and wide nose. 1.7 kg, 16 cm
Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
Sold for (Inc. bp): £23,400
Carved fragment with a female tragedy theatre mask modelled in the half-round, features strongly delineated, eyes detailed with small cylindrical pupils; the hair sculpted on the upper part with rich locks fastened by a taenia, divided into regular rows falling stiffly on the forehead and down along the sides, bound by laces, open mouth in an expression of sorrow. 30 kg, 51 cm
Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12362-226705.
For a similar example s. Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos. 328 (1207).
The mask is known to have been used in tragic theatre since the time of Aeschylus (first half of 5th century B.C.) and considered to be one of the iconic conventions of classical Greek theatre. Masks were also made for male members of the chorus, who play a part in the action and provide a commentary on the events in which they were caught up. The theme of decorative tragic masks as architectural elements passed from the Greek to the Roman culture and is largely visible in all the corners of the Roman Empire. However, these colossal heads are typical of the great architecture of temples and theatres of Roman Asia Minor, and the style and workmanship of this wonderful fragment of frame can be traced back to Hadrian’s era. The face suggests an architectural use, perhaps as a corbel or a lintel.
Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12362-226705.
For a similar example s. Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos. 328 (1207).
The mask is known to have been used in tragic theatre since the time of Aeschylus (first half of 5th century B.C.) and considered to be one of the iconic conventions of classical Greek theatre. Masks were also made for male members of the chorus, who play a part in the action and provide a commentary on the events in which they were caught up. The theme of decorative tragic masks as architectural elements passed from the Greek to the Roman culture and is largely visible in all the corners of the Roman Empire. However, these colossal heads are typical of the great architecture of temples and theatres of Roman Asia Minor, and the style and workmanship of this wonderful fragment of frame can be traced back to Hadrian’s era. The face suggests an architectural use, perhaps as a corbel or a lintel.
Carved in the half-round, showing a mature female with rounded facial features and hair drawn back in a chignon; band and ridged body of the headdress in Egyptianising style; mounted on a custom-made wooden display stand. 520 grams total, 17 cm including stand
Private collection, Munich, Germany.
with Heritage of Ketterer, Munich, Germany.
with Auction House Ursula Nusser E.K., Germany, 2011, no.4021.
Private collection, Munich, Germany.
with Heritage of Ketterer, Munich, Germany.
with Auction House Ursula Nusser E.K., Germany, 2011, no.4021.
Sold for (Inc. bp): £1,300
Miniature throne with rectangular seat, four balustered legs with rosette uppers and tiered feet, pierced rectangular back with spurs to the upper corners. 118 grams, 89 mm
Ex Gorny and Mosch, c. 2005.
From the private collection of Mr K.A.
Cf. similar seats (with figures) in Walker, S. & Higgs, P., Cleopatra of Egypt, from History to the Myth, London, 2001, items I.26, IV.10.
Ex Gorny and Mosch, c. 2005.
From the private collection of Mr K.A.
Cf. similar seats (with figures) in Walker, S. & Higgs, P., Cleopatra of Egypt, from History to the Myth, London, 2001, items I.26, IV.10.
Sold for (Inc. bp): £1,300
Modelled in the round scene composed of three lovers, rectangular base, square-section pierced baluster with hatched panels. 59 grams, 57 mm
Shlomo Moussaieff collection, London, UK.
Ex Galerie Dominique Thirion, Brussels, Belgium.
From the private collection of Mr K.A.
Shlomo Moussaieff collection, London, UK.
Ex Galerie Dominique Thirion, Brussels, Belgium.
From the private collection of Mr K.A.
Tripod base formed with lion paw feet and scooped interstitial panels, balustered stem and dished pan, central mounting spike. 1.9 kg, 28 cm
Formerly in North American collection, 1990s.
From the collection of a London, UK, gentleman.
Formerly in North American collection, 1990s.
From the collection of a London, UK, gentleman.
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97 - 108 of 3419 LOTS
97 - 108 of 3419 LOTS
