Asta 31 by Bertolami Fine Art

AUCTION 31

ANTIQUITIES London, 24th March 2017 La Galleria Pall Mall 5b Pall Mall Street 30, Royal Opera Arcade London SW1Y 4UY Ph. +39 0632609795 Gallery Ph. +44 ( 0 ) 207 930 7558 Viewing Times: March 20th-23rd 10:00 am-7:00 pm (GMT+1) Auction Times: March 24th 4:00 pm (GMT+1)

TEAM

DIREZIONE Giuseppe Bertolami Sole Administrator

DEPARTMENTS OlD MASTERS DEPARTMENT

Giuseppe Bertolami Head of Department

MODERN AND CONTEMPORARy ART

Raffaele Cecora

Head of Department r.cecora@bertolamifinearts.com JEwEllERy, SIlvER AND wATChES

Fabio Romano Moroni

Head of Department f.moroni@bertolamifinearts.com ANTIquITIES DEPARTMENT

Andrea Pancotti

Head of Department a.pancotti@bertolamifinearts.com NuMISMATIC DEPARTMENT

Andrea Pancotti

Head of Department a.pancotti@bertolamifinearts.com PRIvATE SAlES

Giuseppe Bertolami Director

Antonio Iommelli

Specialist a.iommelli@bertolamifinearts.com

Manuela Dâ&#x20AC;&#x2122;Aguanno

Specialist m.daguanno@bertolamifinearts.com

Sandro Lellini

Head of the Gemmological Sector s.lellini@bertolamifinearts.com

Maria Chiara Zaccaria

Specialist m.zaccaria@bertolamifinearts.com

Francesca Balducchi

Specialist f.balducchi@bertolamifinearts.com

Fiorenzo Catalli Specialist

Giuliano Catalli

Director at the London Branch g.catalli@bertolamifinearts.com

Celeste Guerrieri

Specialist c.guerrieri@bertolamifinearts.com

TEAM

ADMINISTRATION

Fabrizio Fazioli

f.fazioli@bertolamifinearts.com

TEAM

Simone Durante

s.durante@bertolamifinearts.com

lOgISTICS

Alessandra Tabacco

a.tabacco@bertolamifinearts.com ExPORT lICENCES

Giusi Spiezia

g.spiezia@bertolamifinearts.com CuSTOMER CARE

Giorgia Giammei

g.giammei@bertolamifinearts.com COMMuNICATION AND PRESS OffICE

LIVE BIDDING

Scarlett Matassi

s.matassi@bertolamifinearts.com MARKETINg

Eleonora Renucci

e.renucci@bertolamifinearts.com gRAPhIC & wEB DESIgN

Filippo Marini Recchia

f.marini@bertolamifinearts.com PhOTOgRAPhER

Lorenzo Vanzetti

l.vanzetti@bertolamifinearts.com Bertolami Fine Arts Srl Palazzo Caetani Lovatelli - Piazza Lovatelli - 00186 Roma - tel. +39 06.32609795/06.3218464 - fax +39 06.3230610 Bertolami Fine Arts Ltd 63 Compton Street apartment 2 - EC1V 0BN London - ph. +44 7721 407701 ACR Auctions GmbH Sendlinger StraĂ&#x;e 24 - 80331 Munich www.bertolamifinearts.com - info@bertolamifinearts.com

Important information for buyers - Auction 31 - The lots are definitely awarded in the auction room on the days of sale: 24th March 2017 – 4:00pm GMT+1. - The lots are available for viewing at Pall Mall Gallery” in 5b Pall Mall – 30 Royal Opera Arcade, London SW1Y 4UY, United Kingdom from 20th to 23rd March 2017 from 10:00am GMT+1 to 7:00pm GMT+1. - The offers may be made through our websites (www.bertolamifinearts.com), or The-saleroom (www.the-saleroom.com), Invaluable (www.invaluable.com), by fax, email, phone or directly to the offices of Bertolami Fine Arts. Offers made by email, by fax and through our website or website above mentioned, can be received until 12:00 hrs GMT+1 of 24th March, 2017. - BFA may accept absentee bids which are below the reserve price. If the bidding ends before the reserve is reached, Bertolami Fine Arts will submit the consignor the highest absentee bid (until 12.00 on 24th March 2017) below the reserve price received. The decision of the seller will be communicated to the bidder within fifteen days from the auction date. - In the event of matching bids on the same lots, the earliest bid will take precedence. - In the case of only one bid on a lot, the lot will awarded at the opening price. (e.g. if the opening price is £ 1.000 and the only bid offered is £ 1.500, the lot will be awarded at £ 1000). - In the case of multiple bids on the same lot, it will be awarded to the highest bidder. The calculation of the offer will be made at predetermined increments (view “Predetermined increase”) added to the bid immediately lower than the highest received. (e.g. if the opening price is £ 1.000 and customer (A) offers £ 1,270 while customer (B) offers £ 1,800, the lot will be awarded to customer (B) at £ 1,370 (i.e. with a predetermined increment of £ 100 over the immediate lower bid of £ 1,270). - The realized sale prices list will be published on the Bertolami Fine Arts website within five days of adjudication. - Payment for the purchased lots may be made by the following methods: - Bank cheque or cashier’s check in favour of Bertolami Fine Arts LTD with surcharge of £ 10 for foreign checks - Direct bank transfers in Euro may be made to Bertolami Fine Arts LTD with surcharge of £ 10 for outside European Bank transfer: Barclays, IBAN: GB59BARC20577690199966 – Account Nr. 90199966 - SWIFT/BIC: BARCGB22 - Credit card (VISA and MasterCard) and PayPal are subject to a 3,5% surcharge on the total amount due; - Payment of purchased items must be made within than 10 days from receipt of the invoice. If the invoice has not been paid within 15 days of the pro-forma invoice date, the interest will be charged at 1% monthly. -Import costs for countries which require formal import requirements, will be charged to the buyer. In the case of unjustified contestation, by which the items are returned to Bertolami Fine Arts, any customs and courier costs will be payable by the buyer.

- Bertolami Fine Arts reserves the right to withdraw any lot. The auctioneer during the auction, has the right to unite or separate lots and possibly vary the order of sale. He may, at its own discretion, withdraw lots if the bids in the auction does not reach the reserve price agreed between Bertolami Fine Arts and seller. - The successful bidder will pay a commission to Bertolami Fine Arts, for each lot on the hammer price, of 25% (VAT included for European customer). - All lots purchased on the Live-bidding of our website www.bertolamifinearts.com are subject to an increment of 1,5% on the hammer price. All lots purchased on the Live-bidding of other websites as The-saleroom (www.the-saleroom.com) are subject to an increment of 3% on the hammer price. All lots purchased on the Live-bidding of Invaluable (www.invaluable.com) are subject to an increment of 5% on the hammer price. - All participants in the auction must, under the validity of an eventual award, complete a registration form with your personal data and the information requested before each auction. To buy you must possess the ability to act as required by law. - Bertolami Fine Arts may accept mandates for the purchase, by making bids by the auctioneer, in competition with the public participating in the auction. Bertolami Fine Arts reserves the right to refuse bids from buyers not known unless they do not make a deposit to cover the whole value of the lots desired or, in any case, provided other adequate guarantees. - The estimates of the possible selling price of each lot are printed under the description of the lots shown in the catalog and don’t include the commissions payable by the successful bidder. These estimates are approximate. The descriptions of the lots in the catalog may be subject to review by the public communications during the auction. - All items are guaranteed authentic. - In case of discrepancies, the online version of this terms of sale prevails.

Amount offer £ 0-200 201-500 501-1.000 1.001-2.000 2.001-5.000 5.001-10.000 10.001-20.000 20.001-30.000 30.001- more

Predetermined increase £ 10 20 50 100 200 500 1.000 2.000 2.500

COROPLASTIC 1 A MyceneAn TerrAcoTTA sTAnding goddess of The ‘Phi’ TyPe ca. 1425 - 1300 BC height cm 11,5 Of highly stylised form, the upper part of the body of circular flattened form, with rounded breasts, the lower part of the body of columnar form flaring at the foot, the head with bird-like features, the whole decorated with vertical undulating bands in diluted glaze.

£ 2.500 - 4.500 PROVENANCE:

Italian private collection, acquired from Pandolfini (27 October 2009, lot 234). This lot is sold with an export licence issued by the Republic of Italy. 1

2 A MyceneAn TerrAcoTTA sTAnding goddess of The ‘Phi’ TyPe ca. 1425 - 1300 BC height cm 10,8 With flattened, low-waisted, shield-shaped body and flaring foot, the arms and breasts indicated in relief, the head with bird-like features and with applied pellet-like eyes, the whole with diagonally striped decoration in dark-brown glaze, with a single broad central vertical band front and black.

£ 3.000 - 5.000 PUBLISHED:

Erlenmeyer, Orientalia 29, 2, 1960, p. 144, pl. XLI, fig. 76. PROVENANCE:

Italian private collection, acquired from Pandolfini (27 October 2009, lot 236); formerly in the famous Erlenmeyer Collection (Sotheby’s, London 9 July 1990, lot 29). This lot is sold with an export licence issued by the Republic of Italy. 2

3 A MyceneAn TerrAcoTTA sTAnding goddess of The ‘Phi’ TyPe ca. 1400 - 1300 BC

4 A MyceneAn TerrAcoTTA sTAnding goddess of The ‘Phi’ TyPe ca. 1400 - 1300 BC

height cm 12

height cm 10,8

The body of highly stylised circular form, with prominent breasts, the lower part of the body columnar, the face with bird-like features, with geometric decoration in dark-brown glaze.

£ 3.000 - 5.000

£ 2.500 - 4.500

PROVENANCE:

Italian private collection, acquired from Pandolfini (27 October 2009, lot 233); formerly in the famous Erlenmeyer Collection (Sotheby’s, London 9 July 1990, lot 25).

Italian private collection, acquired from Pandolfini (27 October 2009, lot 235).

This lot is sold with an export licence issued by the Republic of Italy.

5 A MyceneAn TerrAcoTTA sTAnding goddess of The ‘Psi’ TyPe ca. 1300 - 1200 BC height cm 11,7 With ‘pinched-out’ stylised head, ringed eyes and flaring polos, with small pointed breasts, the upper part of the body crescent-shaped, the lower of columnar form, wearing a plain necklet and with a spiral scroll motif on the crown of the polos, with diagonal and vertical line decoration on the body in dark-brown glaze.

£ 3.000 - 5.000 PROVENANCE:

Italian private collection, acquired from Pandolfini (27 October 2009, lot 231); formerly in the famous Erlenmeyer Collection (Sotheby’s, London 9 July 1990, lot 27). This lot is sold with an export licence issued by the Republic of Italy.

9 5

6 A BoeoTiAn TerrAcoTTA seATed figure 6th century BC height cm 10,5 Of highly stylised form, seated on a stool, its head in the form of a volute, its eyes pierced with small pin-holes, with striped decoration in dark-brown glaze.

£ 2.500 - 4.500 PROVENANCE:

Italian private collection, acquired from Pandolfini (27 October 2009, lot 237); formerly in the famous Erlenmeyer Collection (Sotheby’s, London 9 July 1990, lot 39). This lot is sold with an export licence issued by the Republic of Italy.

7 A BoeoTiAn TerrAcoTTA figure of A goddess Mid 6th century BC height cm 17,4 The solid hand-made body of plank-like form, she is standing with triangular, stumpy arms outstretched, wearing a long dress with vertical undulating bands on the skirt and a chequerboard design on the blouse, with long hair, the decoration in light brown glaze.

£ 2.500 - 4.500 PROVENANCE:

Italian private collection, acquired from Pandolfini (27 October 2009, lot 238); formerly in the famous Erlenmeyer Collection (Sotheby’s, London 9 July 1990, lot 30). This lot is sold with an export licence issued by the Republic of Italy.

8 A BoeoTiAn TerrAcoTTA figure of A goddess ca. 575 - 550 BC height cm 15,2 Probably representing Demeter or Persephone, seated on a throne, wearing a long and highly decorative dress, the solid hand-made body of highly stylised flattened form, with short stumpy arms outstreched, the face indicated only by a beak-like nose and surmounted by a volute attached to her polos.

ÂŁ 4.500 - 5.500 PROVENANCE:

Italian private collection, acquired from Pandolfini (27 October 2009, lot 242); formerly in the famous Erlenmeyer Collection (Sothebyâ&#x20AC;&#x2122;s, London 9 July 1990, lot 47). This lot is sold with an export licence issued by the Republic of Italy.

9 A refined PorTrAiT of A feMAle Magna Graecia, early 5th century BC height cm 12 A beautiful female head cast with a mould, details delicately incised using a stecca. She wears button earrings and her face is framed by slightly wavy, neatly arranged hair. A fascinating sculpture; the head is similar, in terms of its modelling and stylistic treatment, to votive busts of female gods discovered at the polis of Medma, Magna Graecia, near present day Reggio Calabria.

£ 1.500 - 2.000 PROVENANCE:

Ex ACR Auctions 17 (London, 30 June 2015), lot 15; formerly in a German collection formed in the 1970s. 9

10 An eTruscAn PAnTher Etruria, 5th - 4th century BC height cm 42 A sculpture in the form of a standing panther, made as a mould and hollow inside. Probably the decorative part of a cultic throne, for which the sculpture would have served as an armrest. Partially reconstructed; traces of the original polychromy.

£ 2.000 - 3.000 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

11 An eTruscAn lion Etruria, 5th - 4th century BC height cm 14 The central section of a leonine head; eyes with incised pupils, the nose and the top part of the jaws have been conserved. Probably part of a sculpture used within a decorative architectural framework.

£ 500 - 700 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s. 11

12 A MAle heAd in The groTesque sTyle Egypt, 2nd - 1st century BC height cm 7 A small head set on a wooden base; the masculine face is distinguished by almond-shaped eyes, an aquiline nose, hollow cheeks and full, slightly parted lips. The distinctly individual facial features such as the marked thinness, the absence of hair and the disproportionate size of the ears, reveal an artistic intention that verges on caricature, typical of the grotesque style of the second and first centuries BC. The grotesque style is one of the most distinguishable aspects of Alexandrian art. Distancing itself from the idealisation of the classical world, this style aimed to represent new forms and aspects of reality, that had until then been neglected, such as old-age or childhood, specific psychological states (such as sleep and intoxication), people engaged in everyday life and those of lower social strata (such as fishermen or beggars).

£ 1.500 - 2.000 PROVENANCE:

Ex ACR Auctions 10 (Rome, 28 April 2014), lot 138; formerly in a Danish collection formed in the 1970s. This lot is sold with an export licence issued by the Republic of Italy.

13 A chArMing frAgMenT of A cAMPAnA relief 1st century BC - 1st century AD

14 A roMAn AnTefix wiTh eros 1st century BC - 1st century AD

height cm 7,5

height cm 16

Part of a relief that belongs to a cladding tile decorated with a female head. She has a full face, executed in Greek style and characterized by a stern expression, her lips shut tight and her eyes with irises incised, she has thick curly hair that covers her forehead and ears; she wears a fillet and button earrings. This kind of relief would have been painted and used as cladding for the decoration of public and private buildings principally during the Augustan Age, but also for the entire Julio-Claudian epoch, which lasted until the second century A.D. They take their name from an important collection assembled in the first-half of the 19th century by the Marquess Giampietro Campana.

Part of an antefix decorated in high relief with a bust of a winged Eros, depicted emerging from a tuft of acanthus leaves. The young god has a round fleshy face, framed by long wavy locks of hair that fall on to his forehead and shoulders. The lower edge of the antefix has a decorative moulding.

ÂŁ 800 - 1.200 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

ÂŁ 800 - 1.200 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

15 roMAn AnTefix wiTh The heAd of MedusA 1st century BC - 1st century AD height cm 12,5 A section of an antefix decorated in relief with the head of Medusa. Distinguished by her round face, lips parted in the typical smile, eyes elongated sideways and with incised irises; her hair is arranged in waves on the top of her head and in small tresses at the side of her face. Traces of polychromy.

ÂŁ 800 - 1.200 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

16 roMAn AnTefix wiTh The heAd of silenus 1st century BC - 1st century AD height cm 12 A section of an antefix decorated in relief with the head of Silenus. His face has prominent features: arched eyebrows, deep wrinkles at the centre of the forehead, inset eyes between protruding eyelids and fleshy lips; short curly locks of hair fall messily over his forehead and at the sides of his face. Part of a decorative plant motif is preserved immediately above the head.

ÂŁ 800 - 1.200 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

VESSELS

17 A villAnovAn BiconicAl cinerAry urn Etruria, 9th - 8th century BC height cm 39 A cinerary urn with a wide everted rim, cylindrical neck, a biconical shaped body with rounded shoulders, a flat base and a stick-like handle set on the shoulder. The neck is decorated with a geometric motif, the body with a meander motif. Restored.

£ 1.000 - 1.500 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

18 A Two-hAndled clAy vessel Etruria, 9th - 8th century BC diam. cm 17,5; height cm 8 A grey clay bowl with a round rim, deep basin, flat bottom and small stick-like handles set horizontally beneath the rim. Restored.

£ 300 - 400 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s. 16

19 A chArMing clAy jug Etruria, 9th - 8th century BC height cm 9 A jug in brown clay with a flaring rim, cylindrical neck distinct from the squashed spherical body and a flat bottom; it has a spiral handle that rises above the rim, and extends to the shoulder, decorated with a refined pattern of etched lines. Small chips and holes on the bottom, otherwise in good condition.

£ 500 - 600 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

20 couPle of cAMPAniAn vessels 700 - 650 BC height max cm 20 Olpe and dish with wavy and horizontal bands; the olpe with extended body and short neck, the dish with disk-shaped foot and two handles set on the rim. Its shape and decoration are in the Euboean tradition.

£ 800 - 1.000 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

21 A greco-orienTAl AlABAsTron 7th - 6th century BC length cm 33,5 Alabastron in dark grey clay with an expanded rim and an elongated body that tapers at both ends. Restored.

£ 400 - 600 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

22 An orienTAl greek AlABAsTron 4th - 3rd century BC length cm 18,5 Alabastron in light coloured clay with a disc-shaped rim, short neck and cylindrical body. Intact.

£ 300 - 400 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

23 A corinThiAn AryBAllos Late 7th century BC height cm 10,2 An aryballos with a wide flat lip, a short cylindrical neck, a piriform body tapering down and a ribbon handle stretching from the shoulder to the rim. A series of black rays encircle the lip, the shoulder and the foot; the body is decorated with a scale motif.

ÂŁ 1.000 - 1.200 PROVENANCE:

Ex ACR Auctions 17 (London, 30 June 2015), lot 12; formerly in an English collection formed in the 1990s.

24 An eTrusco-corinThiAn AlABAsTron Late 7th century BC height cm 14 Alabastron with a flat bottom, disc-shaped lip, a body that tapers upwards into a narrow neck and a handle set between the rim and the shoulder. The lip is decorated with black dots, the body with thin, red, parallel lines and the bottom with a wave motif travelling from left to right.

ÂŁ 800 - 1.000 PROVENANCE:

Ex ACR Auctions 17 (London, 30 June 2015), lot 46; formerly in a Bavarian collection formed in the 1990s.

25 An eTrusco-corinThiAn AryBAllos Late 7th century BC height cm 8,5 Aryballos with a disc-shaped lip, short cylindrical neck, a ribbed spherical body and a handle set between the shoulder and the rim. The rim, shoulder and base are encircled by decorative rays; on the body, the spaces between the moldings are filled with brown and purple alternately.

ÂŁ 700 - 800 PROVENANCE:

Ex ACR Auctions 17 (London, 30 June 2015), lot 47; formerly in a French collection formed in the 1990s.

26 An eTrusco-corinThiAn cAsTer olPe Mid 6th century BC height cm 31,5 An Etrusco-Corinthian olpe with a flat rim, a high, cylindrical, flared neck distinct from the ovoid body by means of a collar in relief, and a ribbon handle set vertically between the shoulder and the rim. On the rim and in correspondence with the handle are two rotelles decorated with dotted rosettes. The body is decorated in three registers, one above the other and with an animal theme: panthers and goats in movement to the right; the background is covered with circular shapes. An insignificant chip on the rim.

ÂŁ 1.500 - 2.000 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

27 An excePTionAl BlAck-figure ATTic AMPhorA 530 - 500 BC height cm 49 Amphora with a distinctive concave neck, flattened shoulder, ovoid body tapering down, echinus foot and three-ribbed ribbon handles attached vertically between the neck and the shoulder. Painted in the black-figure style with white and purple highlights, the neck is decorated with palmettes and lotus flowers, the shoulder with a circle of rays. Beneath the handles are four interwoven tendrils, each of which ends in a palm. Below the central section, which displays figurative scenes, is a meander motif which is in turn above a climbing lotus flower bud motif. A band of rays decorate the foot. The lid, which has a spherical pommel, is decorated with concentric bands and ivy branches on the outer rim. Decoration of the body: Side A) on the left is a warrior armed with a helmet, spear and Boeotian shield depicted throwing himself towards a second warrior on the right, who is also armed with a helmet, spear and circular shield; between the fighters is a kneeling warrior, his head turned to the left, holding a spear and a shield. The scene depicted could be the episode in the Iliad in which Achilles defends Antilochus against Memnon,

Side B) thiasus: a bearded Dionysus is depicted at the centre with his head turned to the left, wearing a crown of ivy and a long himation. He extends a kantharos towards a female figure in a mantle standing opposite him; probably Ariadne. Behind the god is a satyr playing a diaulos and a Maenad; the background is filled with vines and bunches of grapes. Museum restoration; Attic black-figure pottery of the end of the 6th century is distinguished by ceramists that favour representations of Homeric hymns and Dionysian scenes painted on medium-sized and large vases (amphora, hydria, krater).

ÂŁ 30.000 - 40.000 PROVENANCE:

Private collection, London; acquired on the European art market in the 1980s. Ongoing thermoluminescence analysis report by Oxford Authentication Ltd. 21

28 An ATTic BlAck-figure lekyThos ATTriBuTed To The liTTle MAsTers grouP ca. 560 - 530 BC height cm 10 A miniaturistic Lekythos with a trumpet mouth, narrow concave neck, flattened shoulder, ovoid body tapering down and disc-shaped foot; a strap handle extends from the neck to the shoulder. In the central band Dionysus is depicted sitting between two dancing satyrs; the background is decorated with vines. The shoulder is encircled by a series of rays. Intact. Attributable to the Little Masters group, ceramists active in Greece between 560 and 520 B.C. ca. The name refers to the particular size of their decoration which references wellknown iconography, such as mythical or battle scenes, and represents it in a charming minatiuristic style.

ÂŁ 800 - 1.000 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

29 A frAgMenT of A red-figure ATTic vAse ATTriBuTABle To EpiktEtos ca. 530 - 470 BC height cm 3,5 A fragment of the side of an Attic vase, decorated in the redfigure style. The fragment shows the profile of a satyr and a hand emerging from the right that attempts to grab him by the beard. On the top edge, there are two corresponding painted letters: K and T. This could be part of the signature of the pottery painter Epiktetos, of the Pioneer Group, who were active in Greece between 530 and 470 BC ca.

ÂŁ 1.800 -2.000 29

PROVENANCE:

Ex ACR Auctions 17 (London, 30 June 2015), lot 14; formerly in a German collection formed in the 1980s. 22

30 An APuliAn red-figured PhiAle Second half of 4th century BC diam. cm 40

A gently curving plate with a flat rim, on a moulded base, with ribbon-shaped handles set horizontally on the rim; there is a small knob at each end of the handles. The tondo is encircled by a sequence of olive leaves. At its centre, an androgynous, winged eros is depicted nude, standing to the right; he carries a phiale and a fan in his hands and wears earrings and anklets. Opposite, a female figure advances to the left, her head turned to the right; she wears a long chiton, a pearl necklace and in her right hand hangs a phiale. The background is filled with floral motifs, whilst the groundline is decorated with ovoli motifs, beneath which sits another phiale. Restored. The phiale, a vessel generally used for libation rituals, in fourth century Apulian production is closely linked to the female world and, in particular, to the cult of Eros. The red-figure style decoration with details overpainted in white, is characterized by betrothal scenes, in which a female figure often appears in the company of Eros, who is offering the bride-to-be objects such as phiale, perfume bottles, a looking glass and wreaths.

ÂŁ 4.000 - 6.000 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

31 An APuliAn red-figured cuP skyPhos Mid 4th century BC height cm 7; diam. cm 12,5 A deep-bowled hemispherical cup skyphos with a low foot and short horizontal handles set just below the rim. Painted in the red-figure style, beneath the handles are palmettes and spiral decorations. On the body of the cup is a nude youth running to the left holding a string object in his hand. On the other side a young girl runs to the right, wearing a chiton tied at the waist, depicted with both arms raised and playing with a ball in flight. Intact.

ÂŁ 300 - 500 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s. 31

32 Two cAnosAn PoTTery vAses 3rd century BC height cm 46 and cm 42 A pair of funerary vases in the form of two female heads wearing diadems decorated with disc-shaped additions and with two long leaves placed at the sides of the neck: on top of the heads are small female statuettes wrapped in the chiton and himation. Originally the two vases were completed by long ribbon handles extending vertically from the back of the statuettes to the back of the heads. Restored.

£ 2.000 - 2.500 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

33 A PAir of sMAll APuliAn PlATes 3rd century BC 32

height cm 8 and 8,5 A pair of small plates decorated with black glaze and on high tapering feet, with shallow basins and flat rims. On the inner rim and at the bottom of the basin are painted strips decorated with rows of ovoli; the bottom of each plate is engraved with an epsilon.

£ 2.000 - 2.500 PROVENANCE:

Ex AR ArtRarities srl, Auction 5 (Rome, 13-14 June 2013), lot 45; formerly in an European collection formed in the 1990s.

34 A collecTion of BlAck-glAzed cerAMics 4th - 3rd century BC A rich collection of black-glazed ceramics, some of which are miniature, probably of Tyrhennian or Magno-Grecian production. Amongst them are skyphoi, oinochoai, lekythoi and various types of one and two handled vessels; distinct from the rest is the cothon, typical of the Picena area, with a rotund and compressed body, a single handle and a rim that curves sharply inwards. They have all been subject to top-quality museum restoration.

PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

£ 800 - 1.200

35 A greek omphalos phialE in Bronze 5th - 4th century BC diam. cm 19,5; height cm 3 A bronze phiale with a ridged rim, a shallow tapering basin and an omphalos at its centre. The inside of the basin is ribbed and the omphalos is encircled by an intricate series of interweaving lines. There are traces of the original metal plating. In ancient Greece the term omphalos (navel) referred to the stone sacred to Apollo, situated in the sanctuary of Delphi. The omphalos form featured inside some phialae not only bestows religious value but also facilitates ease of handling: the phiale was held in one hand with the middle finger in the outer depression and the thumb supporting the side.

£ 400 - 500

PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s. 25

36 A Bronze eTruscAn Bowl 5th century BC diam. cm 25,5; height cm 5 Bowl in bronze, with a tapered basin, flat base and a short handle set horizontally on the rim.

£ 300 - 400 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

37 A silver-PlATed Bronze islAMic dish Ummayad Dynasty, ca. 7th - 8th century AD diam. cm 28 A silver-plated bronze bowl with a thin rim and deep basin; the centre is decorated with a five-pointed floral shape, created with engraved dots and circles.

£ 500 - 600 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

MARBLES AND INSCRIPTIONS

38 A dAuniAn sTele 7th - 6th century BC height cm 62 A daunian stele on a rectanguar limestone slab, with some fragments missing. The decoration is incised and arranged over various horizontal and vertical strips that frame a central band in which stylized male and female figures are depicted in procession. The decoration consists of geometric motifs and concentric circles. The circles, which have dots incised at their centres and a vertical band extending from their edges are particlarly interesting. They could be an array of various kymbala, a sort of magical bell used to ward off evil spirits, or opium poppies, which were used widely in the daunian civilization, especially in the religious sphere.

£ 4.500 - 5.500 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

39 A voTive relief wiTh An inscriPTion To ArTeMis orThiA Sparta, 7th - 6th century BC height cm 55; width cm 41; thickness cm 7,5 A rectangular slab of grey stone with a flat, raised frame bordering an ancient image in low relief of Artemis Orthia, who was worshipped in Sparta. She is depicted according to eastern iconography (the so-called Persian Artemis) and to that of the Egyptian-Anatolian, Cretan and Mycenaean goddesses, as the homeric potnia theron, ‘The Mistress of the Animals’, (Iliad, 21, vv. 470 - 471). The goddess is shown front on, her face to the side, with large almond shaped eyes and large wings that extend upwards. Her long hair is carved in parallel lines that fall onto her shouder and crowned with a diadem with curved grooves. She is dressed in a long ionic chiton that reveals her feet and is tied at the waist by a soft belt. The bustier is decorated with a lattice motif and a Greek fret that runs vertically, the skirt is adorned with squares which are framed by strips of zig-zag motifs. She holds two acquatic birds by the neck. They are crouched next to her in a heraldric position. Running backwards along the frame is an inscription incised in Greek, which under paleographic examination can be dated to the 6th century BC. Ϝαναχα̣[...]ίδας τᾷ θεᾷ [...] It is a votive inscription which is composed simply of the name of the worshipper along with the dative term θεά, a formulaic term seen in some votive inscriptions of the ancient world. The name could be identified as Ϝαναχα̣[νδρ]ίδας. The iconographic motif of the winged goddess was widespread in Greece from the end of the 8th century until the 6th century BC on minute objects, such as ivory plaqettes and bronze plates, many of which come from the sanctuary of Artemis Orthia in Sparta,on precious stones or pottery. The relief is completely unique. As far as we know, there are no other such representations of the goddess on stone supports and of such a large size. Comparisons can be drawn (allowing for some variation) between this relief and some ivory plaqettes originally attached to bronze fibulae, especially those dated around 650 BC, discovered during British excavations at the sanctuary of Artemis Orthia in Sparta, in the early 1900s. The lack of archaeological context and the unique nature of the object do not allow for an exact dating. Supposing that the object is contemporaneous with the oldest ivory plaquettes from the sanctuary of Artemis, it is absolutely clear that the inscription was added at a later date, probably closer to the middle or end of the 6th century BC. The epithet Orthia, has many linguistic variants (Phortaia, Phorteia, Ortasia)and is often found in votive inscriptions from the sanctuary, after the 7th century BC until Roman 28

times, either alone or with the name Artemis. Artemis Orthia is a complex and varied divinity: a goddess of nature, of plants and fertility, protector of animals and of human beings, linked to male and female rites of passage, to birth, death and marriage.

£ 150.000 - 200.000 REFERENCES:

J. BOARDMAN, Artemis Orthia and Chronology, BSA 58, 1963, pp. 1-7. R. M. DAWKINS, The sanctuary of Arthemis Orthia at Sparta excavated and described by members of the of the British School at Athens, Athens 1929. M. GUARDUCCI, Epigrafia greca I, sec. ristampa, Roma1995. L. H. JEFFERY, The local scripts of Archaic Greece, rev. ed. with a supplement by A. W. JOHNSTON, Oxford 1990. L. KAHIL, in LIMC II, 1, pp. 738-742. LAZZARINI 1976: M. L. LAZZARINI, Le formule delle dediche votive nella Grecia arcaica, Memorie dell’Accademia Nazionale dei Lincei, Classe di Scienze morali, storiche e filologiche, 19, 1976. PROVENANCE:

From the Dean collection (London), formed since 1960s; accompanied by an Art Loss Register certificate (n. S00119937).

Avory plaquette from the Sanctuary of Artemis Orthia, Sparta (675 - 650 BC). National Archaeological Museum of Athens.

40 A cAndelABrA suPPorT 1st century BC - 1st century AD diam. cm 20 Part of a marble candelabrum, defined by its round shape, protruding spout and decorative base, which is carved into a floral motif. At the centre of the plate is a square hole to support the candle shaft. Traces of burning on the rim. The Roman candelabrum was made with either marble or bronze and was constituted by a small plate or upper support, upon which an oil lamp was placed and at the centre of which stood a (smooth or fluted) shaft, with a tripod at its end. This was a luxury furnishing used across the empire: bronze versions would have been used mainly within private homes, marble versions in public and in places of worship.

ÂŁ 400 - 700 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

41 hAnd of The young dionysus 1st century AD height cm 20 A thick grained marble section of a right hand originally part of a life-size statue. The hand is clutching the handle of a pitcher (probably an oinochoe) between the thumb, index and little fingers. The hand is at a right angle to the pitcher, which has an ovoid body, protruding mouth, and two wide holes at the back and in the bottom, probably to make way for the placement of an internal support. A good comparison is with a Roman marble copy dating from the 1st century AD, from Lanuvio (Rome): the statue is of a young Dionysus, intent on pouring wine from a kantharos held in his right hand and with a small panther at his left side.

ÂŁ 2.000 - 2.500 PROVENANCE:

Private collection, London; acquired on the European art market in the 1980s.

Dionysus from Lanuvio (inv. 32031)

42 A dionysiAn AncienT yellow MArBle herM BusT 1st century AD height cm 18 An ancient yellow marble herm male bust with a severe expression, accentuated by a furrowed brow and tension in the facial features. He has wide, sunken eyes, a disfigured nose, lips shut tight and a prominent chin; his hair is carved with small curly locks that frame his forehead, while the rest of his head is adorned with large acanthus leaves, berries and other plants held together by a sash, the hem of which rests on his shoulders. The iconography of the character is very obviously related to Dionysus; his exact identity however is

uncertain: it could be a satyr or Hercules in the dress of Dionysus. This type of herm was very common in the Hellenistic and imperial periods, especially in private settings. It could be used as decoration in the triclinium or in Roman gardens and was usually placed with other herms representing various gods and divine beings.

ÂŁ 15.000 - 18.000 PROVENANCE:

Private collection, London; acquired on the European art market in the 1980s.

32 42

43 A BeAuTiful MArBle urn inscriBed for MArcus AnTonius geMellus 1st - 2nd century AD height cm 48 A white marble cinerary urn, with a lid and rich decoration executed in high relief. Two eagles and two griffins are depicted on the lid of the urn, which is pediment-shaped. Between the griffins is a tripod with leonine paws and upon which sits a fluted cauldron. On the front of the urn is a panel with an inscription, from Marco Antonio Proculo, in memory of his deceased father, Marco Antonio Gemella, whose ashes are within:

xes, the centre of the lower register meanwhile is adorned with a shell, between two dolphins and two candle holders which sit in each corner. The shape of the urn and its cover, the decoration and paleographic characteristics would suggest that it dates from between the end of the 1st and first half of the 2nd century AD.

Diis / Manibus / M(arci) Antoni / Gemelli / M(arcus) Antonius / Proculus filius / patri bene / merenti.

PROVENANCE:

ÂŁ 8.000 - 10.000 Ex ACR Auctions 17 (London, 30 June 2015), lot 67; formerly in an European collection formed in the 1980s.

On either side of the panel are pairs of eagles and sphin43

44 ePigrAPh of gelAsinus 1st - 2nd century AD

A marble slab with a latin inscription in five lines: D(iis) M(anibus) / Glycera / Gelasino / amico bene / me(renti) fecit. Part of a sepulchral epitaph, it is characterized by the typical formula of an opening with a dedication to the Manes, commissioned by Glycera for her deceased friend Gelasinus. The presence of the female name of greek origin, Glycera, is interesting because it appears in Horace’s ode to Venus (Od. 1, 30): the latin poet invites the goddess to leave Cyprus and go to the house of Glycera, an Athenian courtesan and one of his lovers. Her name evokes feminine softness.

height cm 25,5

£ 2.000 - 3.000 PROVENANCE:

Private collection, London; acquired on the European art market in the 1980s.

45 relief wiTh scene froM The ocToBer horse Early 2nd century AD height cm 12 PROVENANCE:

A relief with a putto riding a horse towards the right; opposite is a second putto with a small sickle in his hand. Restored. The scene is probably taken from the festival of the October Horse, an animal sacrifice to Mars carried out on the 15th October, which coincides with the end of the agricultural and military campaigning season.

Private collection, London; acquired on the European art market in the 1990s.

£ 1.000 - 1.500

46 funerAry relief 3rd century AD height cm 12,5 Relief with a winged putto to the right and a male figure wearing a tunic to the left. The extensive use of a drill and the protruding figures suggest that the relief was designed to be admired from below and would therefore have originally been positioned at the top of a monument.

ÂŁ 500 - 800 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s. 46

47 A sPlendid PuTeAl in AurisinA sTone Italy, 11th century height cm 82 A circular puteal with four finely decorated sections carved with plant motifs, rosettes and stylized animals, amongst which are peacocks, dolphins and griffins. An exceptional example of decorative finesse, the plant and animal motifs are reminiscent of byzantine and eastern creations.

ÂŁ 40.000 - 50. 000 PROVENANCE:

Italian private collection (Venice). Currently in Italy, but with an export licence issued by the Republic of Italy.

48 An inTeresTing cAPiTAl reused As A labrum Byzantine era, 11th - 12th century height cm 25; diam. cm 45 A font (labrum) carved from a capital and characterized by wide curved grooves. The decoration is executed in high relief and consists of twelve male figures, the twelve apostles, in prayer and with a sacred text in hand.

ÂŁ 10.000 - 12.000 PROVENANCE:

Property of a gentleman.

VARIA AND ORNAMENTA

49 ivory PlAque in shAPe of kore heAd Greek production, 7th - 6th century BC

50 ivory PlAque in shAPe of sATyr heAd Greek production, 7th - 6th century BC

height cm 7

height cm 5

Ivory plaque in shape of Kore head. Eyes characterized by an elongated profile, full lips in a ‘archaic smile’, protruding chin and pointed ears. Hairstyle into bands neatly arranged on the head, and braids falling over shoulders, held by a large band. Necklace with linear strips and ‘wolf-tooth’ design. This highly refined and accurately relief exalt the frontal view of the face: the big eyes, the low forehead, the triangular face, and hair falling in neat horizontal bands, belong to the Greek sculptures in Daedalic style (7th century BC), whose stylistic features derive from Syrians and Phoenicians carved ivories. The Dedication of Nikandre or the famous Lady of Auxerre represent a valid comparison, being characterized by the same Orientalizing elements.

Ivory plaque in shape of Satyr head. Thin and squared face, pointed ears, big eyes characterized by an elongated profile, narrow nose, long beard and mustache; curly hair framing his forehead, long tresses falling on the shoulders. The wild nature of this character is exalted by stern expression and feral features. We found comparisons in late Orientalizing era and still in the early archaic period, for example on the black-figure ceramic (late 7th - early 6th century BC).

£ 5.000 - 8.000

£ 4.000 - 6.000 PROVENANCE:

Property of a gentleman; acquired by his grandfather in the 1940s; thence by descent.

PROVENANCE:

Property of a gentleman; acquired by his grandfather in the 1940s; thence by descent.

51 ivory PlAque in shAPe of silenus heAd Greek production, 7th - 6th century BC

52 sMAll ivory PlAque in shAPe of kore heAd Greek production, 7th - 6th century BC

height cm 3,8

height cm 2,8

Ivory plaque in shape of Silenus head, framed by a floral plot. Long face characterized by finely carved thick beard, protruding pointed ears and full lips. Restored.

Small Ivory plaque in shape of Kore head. Oval face and hair divided into regular bands and small braids falling on shoulders and behind ears. Nose is elongated and lips are lips in the ‘archaic smile’. Restored.

£ 1.500 - 2.000

£ 1.000 - 1.200

PROVENANCE:

Property of a gentleman; acquired by his grandfather in the 1940s; thence by descent.

PROVENANCE:

Property of a gentleman; acquired by his grandfather in the 1940s; thence by descent.

53 inscriBed sling-shoT Magna Graecia, 4th - 3rd century BC length cm 5 A terracotta ovoid sling-shot with Greek inscriptions. On reverse, a stamp with a male figure, partially cloacked and holding a small curved rod, probably a sling. Πρώ(τα) φυλἀ φα̣(τρία) Ῥ̣ιπεα̣(...) Δαμάτριος Πυρίνου The inscription (in Dorian, ancient Greek dialect) bears a proper name, accompanied by the patronymic. It belonging to a military commander or to a soldier; is preceded by the number of one of the three civic tribes (phyle) in which his city was divided, and by the name of his social division group (phratria). Sling-shots are small objects (leaden or terracotta) used in war during Greek and Roman periods; they are real bullets used by slingers against enemies. Often sling-shots bears inscriptions with names of cities in war, kings, military commanders, artisans, or victory cheers.

PROVENANCE:

English private collection, acquired on the London art market in the 1980s.

£ 400 - 600 39

54 A greek Bronze eseMBle of oPenwork PendAnTs Geometric period, 9th - 8th century BC height cm 4-6 (each) Group of pendants, each with pierced biconical section and hollow tubular shaft. These pendants may have been part of a horse harness.

£ 1.000 - 1.200 PROVENANCE:

Dean Collection, London.

55 Bronze ThyMiATérion Etruria, late 6th - early 5th century BC height cm 6,5; diam. cm 8,5 Upper part of a silvered bronze Thymiaterion, consisting in a cup with everted rim. Highly refined decorations, consisting in heart-shaped leaves and newts alternated with elaborate vegetable compositions; on the bottom, the hole for the engagement of the stem. Delightful green patina.

£ 500 - 800 55

PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s. 40

56 celTic Bronze hArness 1st century AD height cm 17,5 With its sinuous design and swirling arrangement of commas, circles, and fan shapes, this kind of object conveys the pervasiveness of a Celtic aesthetic in the western provinces during the first centuries AD. Beautiful emerald glossy patina.

£ 2.400 - 2.600 PROVENANCE:

Ex ACR Auctions 17 (London, 30 June 2015), lot 56; in the 1980s with Herbert A. Cahn, Zurich.

57 Bronze sTrigil 3rd - 2nd century BC height cm 19 Curved blade with a handle. The strigil is a tool for the cleansing of the body by scraping off dirt, perspiration, and oil that were applied before bathing. In Ancient Greek and Roman cultures the strigil was primarily of use to men, specifically male athletes.

£ 300 - 400 56

PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

58 roMAn Bonus evenTus Bronze sTATueTTe 1st - 2nd century AD height cm 18 Depicted nude standing on a socle base, with drapery around the left shoulder and holding patera. On left hand held bouquet of poppies and corn ears, now-missing. Glossy green patina.

£ 2.500 - 3.500 PROVENANCE:

Ex Bonhams (London, 1 May 2013), lot 74; previously in a UK private collection, acquired on the London art market in the 1980s.

59 frAgMenTs of Bronze sTATues Hellenistic and Roman periods length max 12 cm Various gilded bronze fragments belonging to larger than life size statues. There are fingers, part of feet, hairstyles, and a piece of greek inscription on three lines: […]ΣT[…] / […]ΣΗ[Λ…] / […]Κ[…].

£ 500 - 700 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s. 42

60 A collecTion of sPindle whorls Iron Age height max mm 34 Group of seven spindle whorls made in various materials: terracotta, red jasper, jadeite, amber.

£ 200 - 300 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

61 A collecTion of looM weighTs 5th - 3rd century BC height max cm 10 Group of 29 loom weights and two spools. Some figured, others characterized by Greek inscriptions.

£ 300 - 500 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

62 A collecTion of jewelry Mediterranean, classical times to the Middle Ages

diam. max cm 7 Group of 21 bracelets and 16 bronze and silver rings characterized by various decorations. Inside, heterogeneous forms, types and datings; we recognize ancient (Etruscan, Greek and Roman) and medieval productions.

£ 200 - 250 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

63 A collecTion of oTToMAn APPliques Turkey, 17th - 18st century diam. max cm 10 Group of 18 bronze appliques, belonging to Ottoman belts, decorated with plant motifs, some with traces of silvering.

£ 400 - 600 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s. 44

JEWELRY AND INTAGLI 64 golden silver diAdeM Hellenistic period length cm 26 PROVENANCE:

Diadem composed by thin rectangular-shaped leaf made in golden silver and decorated with embossed geometric and floral ornamental motif. Restored.

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

£ 400 - 500

65 roMAn rock crysTAl Bowl 1st century AD length cm 10

£ 3.000 - 4.000 PROVENANCE:

Ex ACR Auctions 17 (London, 30 June 2015), lot 59; formerly in a German collection formed in the 1970s.

66 roMAn silver venus And eros inTAglio 1st century AD height mm 20; gr 5,58 Silver Intaglio depicting Venus, naked and seated on a rock, with a strip of mantel in the left hand; beside her Eros, carrying hand to the forehead.

ÂŁ 300 - 500 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

67 PArThiAn gold And gArneT eArrings 1st - 2nd century AD length cm 5,8; gr 10,97 (each) A pair of gold earrings with a drop-shaped upper part within which is placed a red glass; below, cylindrical element with bead-shaped pendant, ending with a garnet, decorated with engraved lines and framed by hollow spheres. Each earring shows an hinged ear hoop with arching earwire. Ascribed to Parthian production for composed form with differents elements and for the typical hinged ear hoop.

ÂŁ 3.000 - 4.000 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

68 PAir of roMAn gold eArrings 1st - 2nd century AD length mm 29 Pair of gold earrings with open loop attached to cylindrical hollow bar. Below, a pair coiled wires suspended by closed loops at bottom of which a single bead.

ÂŁ 700 - 900 PROVENANCE:

Private collection; with Dr. Bron Lipkin, London.

69 PAir of roMAn gold eArrings 1st - 2nd century AD diam. mm 16 Pair of gold earrings with circular section profile, hook clasp and small beads decoration.

ÂŁ 1.200 - 1.500 PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

70 roMAn gold finger ring wiTh eMerAld 1st - 2nd century AD diam. mm 15; gr 1,92 Roman gold finger ring with emerald placed in a rectagular-shaped setting.

£ 600 - 800 70

PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

71 sMAll roMAn gold finger ring wiTh gArneT inTAglio 1st - 2nd century AD inn. diam. mm 11; gr 2,29 A small gold finger ring with garnet Intaglio depicting a butterfly on a plinth. Probably belonging to a child due to the smallness and for the presence of another little ring joined to it, perhaps for a twine to prevent loss. In Roman time butterfly symbolized the soul leaving the body.

£ 600 - 800 PROVENANCE:

Ex Gorny & Mosch 235 (Munich, 16 December 2015), lot 312; formerly in the Dean collection (London), formed since 1960s. 71

72 roMAn gold finger ring wiTh gArneT inTAglio 1st - 2nd century AD diam. mm 15; gr 1,10 Roman gold finger ring with garnet Intaglio depicting a floral decoration.

£ 600 - 800 72

PROVENANCE:

Private collection, London; acquired on the European art market in the 1990s.

EXOTICA 73 A Pre-coluMBiAn huMAn skeleTon figure Colombia, Tairona Culture, AD 1000 - 1500 height cm 8,5 A fascinating human skeleton figure made in tumbaga (gold and copper alloy) used as pendant and depicted with legs and hands bent on the chest; wears bracelets, necklace and anklets. Body shows protruding hips, well defined ribs and the head is characterized by sunken eyes and an half-round flat headgear with interweaving lines in relief on the rim; the same decoration is on mouth and around the face. Restored between neck and body.

ÂŁ 5.000 - 8.000 PROVENANCE:

English private collection; until 1985 in the Principality of Monaco; formerly in the collection of Gaspard Mollien (French diplomat, 1796-1872).

74 A Pre-coluMBiAn wArrior figure Colombia, Tairona Culture, AD 1000 - 1500 height cm 5 Warrior figure made in tumbaga (gold and copper alloy) and used as pendant. Depicted naked with legs spread apart, and a long object like a sceptre grasp in the hands; wears movables earrings, bracelets and an half-round flat headgear decorated with beads and interweaving lines in relief. The face shows applied-like eyes and piercings with rings on the cheeks.

ÂŁ 4.500 - 6.500 PROVENANCE:

English private collection; until 1985 in the Principality of Monaco; formerly in the collection of Gaspard Mollien (French diplomat, 1796-1872).

75 A Pre-coluMBiAn AnThroPoMorPhic Bell Colombia, Tairona Culture, AD 1000 - 1500 height cm 7 Anthropomorphic figure made in tumbaga (gold and copper alloy) with spherical body and inner bell. With arms resting on the hips, wears pectoral, bracelets and eagle-shaped headgear with elaborate decoration like spirals and bends in relief on wings. Probably used during magic rituals.

ÂŁ 1.500 - 2.000 PROVENANCE:

English private collection; until 1985 in the Principality of Monaco; formerly in the collection of Gaspard Mollien (French diplomat, 1796-1872).

76 A Pre-coluMBiAn Monkey figure Colombia, Tairona Culture, AD 1000 - 1500 height cm 3 Delighful monkey figure made in tumbaga (gold and copper alloy) used as pendant. Depicted seated with forelegs resting on his chest and long tail curled up over the back; decorative spirals applied on hips, tail and knees. The head shows prominent eyes and open mouth, both decorated with interweaving and oblique engraved lines.

ÂŁ 3.000 - 4.000 PROVENANCE:

English private collection; until 1985 in the Principality of Monaco; formerly in the collection of Gaspard Mollien (French diplomat, 1796-1872).

77 A Pre-coluMBiAn owl figure Colombia, Tairona Culture, AD 1000 - 1500 height cm 4 Owl figure made in tumbaga (gold and copper alloy) characterized by 180 degrees rotating head; with pointed ears, flattened beak and prominent eyes framed with interweaving lines in relief; body shows folded wings and tail with slight engraved lines. Probably a lucky charm pendant.

ÂŁ 3.000 - 4.000 PROVENANCE:

English private collection; until 1985 in the Principality of Monaco; formerly in the collection of Gaspard Mollien (French diplomat, 1796-1872).

78 A Pre-coluMBiAn frog Bell Colombia, Tairona Culture, AD 1000 - 1500 length cm 2,5 Frog figurine made in tumbaga (gold and copper alloy) used as pendant with inner bell. With forelegs depicted as long hook, the head shows mouth defined by engraved line and spherical eyes framed with interweaving lines extended on the back.

ÂŁ 3.000 - 4.000 PROVENANCE:

English private collection; until 1985 in the Principality of Monaco; formerly in the collection of Gaspard Mollien (French diplomat, 1796-1872).

79 A Pre-coluMBiAn feline figure Colombia, Tairona Culture, AD 1000 - 1500 length cm 6 Figure made in tumbaga (gold and copper alloy) composed by feline head and body molded in shape of a little jug decorated with refined spiral elements; head with applied pellet-like eyes and prominent nose. Body and head are joined by thin leaf with interweaving lines in relief. Probably used as ritual jug. Tumbaga was the name given by Spaniards to a non-specific alloy of gold and copper which they found in widespread use in pre-Columbian Mesoamerica and South America.

ÂŁ 1.500 - 2.00 PROVENANCE:

English private collection; until 1985 in the Principality of Monaco; formerly in the collection of Gaspard Mollien (French diplomat, 1796-1872).

80 A Pre-coluMBiAn Bird figure Colombia, Tairona Culture, AD 1000 - 1500 height cm 4 Bird-shaped figure made in tumbaga (gold and copper alloy) and used as pendant; with folded wings, long beak, prominent eyes framed with interweaving lines in relief and three decorative spirals aplied on the chest.

£ 1.000 - 1.500 PROVENANCE:

English private collection; until 1985 in the Principality of Monaco; formerly in the collection of Gaspard Mollien (French diplomat, 1796-1872).

81 A PAir of BAcTriAn heAds Bactria-Margiana Archaeological Complex, 3rd - 2nd millennium BC height mm 20 (each) Two heads belongings to Bactrian female idols. Oval faces carved in limestone characterized by large eyes and large ears, triangular noses and single lines as mouths. On head, carved in chlorite, hairstyles or headgears characterized by elaborate plots.

£ 800 - 1.200 PROVENANCE:

English private collection, purchased in 2000s from Herakles Numismatik und Antiquitäten GmbH (München); previously acquired on the European art market in the 1970s.

82 frAgMenTs d’ArchiTecTure AnTique cm 46 x 33 (each) H. d’Espouy, Fragments d’Architecture Antique d’après les relevés & restaurations des anciens pensionnaires de l’Académie de France à Rome, Volumes I and II (100 plates in each volume), edited by Carles Massin, Paris, 1905. Unbound as issued in original cloth backed portfolio.

£ 1.000 - 1.500 PROVENANCE:

Ex Christie’s (London, 8 December 1993), lot 40.

Terms and Conditions This notice is addressed by Bertolami Fine Arts LTD to any person who may be interested in a Lot. An additional information applicable to the Sale may be set out in the Catalogue for the Sale, in an insert in the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well. The terms and conditions of sales applied to both floor and online Bertolami Fine Arts LTD sales are the ones on the site bertolamifinearts.com and not those published in printed catalogs. 1. OUR ROLE In its role as Auctioneer of Lots, Bertolami Fine Arts LTD acts solely for and in the interests of the Seller. Our experts are available to prospective buyers to give information about lots for sale. The Seller has authorized Bertolami Fine Arts LTD to sell the Lot as its agent on its behalf and, save where we expressly make it clear to the contrary, Bertolami Fine Arts LTD acts only as agent for the Seller. Any statement or representation we make in respect of a Lot is made on the Seller’s behalf. Bertolami Fine Arts LTD does not owe or undertake or agree to any duty or responsibility to you in contract or tort (whether direct, collateral, express, implied or otherwise). If you successfully bid for a Lot and buy it, at that stage Bertolami Fine Arts LTD does enter into an agreement with the Buyer. The terms of that contract are set out in our Buyer’s Agreement, which you will find beneath. 2. LOTS Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue, Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. They may not reveal the true condition of the Lot. A photograph or illustration may not reflect an accurate reproduction of the color(s) of the Lot. Lots are available for inspection prior to the Sale and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price. It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests. Please ask our staff for details. Any person who damages a Lot will be held liable for the loss caused. 3. DESCRIPTIONS OF LOTS AND ESTIMATES Contractual Description of a Lot The Catalogue contains a description of our experts and an image about each Lot. Estimates The estimate is printed beside the description. Estimates are only an expression between Bertolami Fine Arts LTD and the Seller. It does not take into account any VAT or Buyer’s fees. The estimate of each lot is in pound. Condition Reports Bertolami Fine Arts LTD can give to all customer the Condition Report on each lot. If you do so, this will be provided by Bertolami Fine Arts LTD on behalf of the Seller free of charge. The Seller’s responsibility to you The seller undertakes to respect all contractual obligations listed here relating the sale of the items in the auction.

Bertolami Fine Arts LTD’ responsibility to you Bertolami Fine Arts LTD acts as an intermediary for the sale and it assumes the commitment to allow analysis, study or test for the interest of the seller and buyer unless they are invasive or damaging the item. Alterations Descriptions and Estimates may be amended at Bertolami Fine Arts LTD discretion from time to time by notice given orally or in writing before or during a Sale or by publication. Each lot is available for examine before the sale. Authenticity The Auction House offers an unconditional and unlimited guarantee for the authenticity of objects. All identifications and descriptions of the items sold in this catalogue are statements of opinion and were made in good faith. Reserve Price BFA may accept absentee bids which are below the reserve price. If the bidding ends before the reserve is reached, Bertolami Fine Arts will submit the consignor the highest absentee bid below the reserve price received. The decision of the seller will be communicated to the bidder within fifteen days from the auction date. 4. CONDUCT OF THE SALE Our Sales are public auctions which persons may attend and you should take the opportunity to do so. We do reserve the right at our sole discretion to refuse admission to our premises or to any Sale without stating a reason. We have complete discretion as to whether the Sale proceeds, whether any Lot is included in the Sale, the manner in which the Sale is conducted and we may offer Lots for Sale in any order we choose notwithstanding the numbers given to Lots in the Catalogue. You should therefore check the date and starting time of the Sale, whether there have been any withdrawals or late entries. Remember that withdrawals and late entries may affect the time at which a Lot you are interested in is put up for Sale. We have complete discretion to refuse any bid, to nominate any bidding increment we consider appropriate, to divide any Lot, to combine two or more Lots, to withdraw any Lot from a Sale and, before the Sale has been closed, to put up any Lot for auction again. Some lots may carry a reserve. The auctioneer reserves the right not to sell an item below the confidential price, or will repurchase the item on behalf of the consignor or for the account of BFA. If a reserve exists the auctioneer reserves the right to bid on any lot on behalf of the consignor up to the amount of the reserve against any floor or mail bidders. The auctioneer also reserves the right to bid on any lot on behalf of BFA. The Buyer will be the Bidder who makes the highest bid acceptable to the Auctioneer for any Lot (subject to any applicable Reserve) to whom the Lot is knocked down by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be settled by the Auctioneer in his absolute discretion. All bids tendered will relate to the actual Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This equipment is provided as a general guide as to the equivalent amount in certain currencies of a given bid. All estimates are in POUNDS STERLING. We do not accept any responsibility for any errors which may occur in the use of the currency converter. We may use video cameras to record the Sale. 5. BIDDING We do not accept bids from any person who has not completed and delivered to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form. You will be asked for proof of identity, residence and references, which, when asked for, you must supply if your bids are to be accepted by us. Please bring your passport, driving license (or similar photographic proof of identity) and proof of address. We may request a deposit from you before allowing you to bid. We may refuse entry to a Sale to any person even if that person has completed a Bidding Form.

Bidding in person You should come to our Bidder registration desk at the Sale venue and fill out a Bidder Registration Form on (or, if possible, before) the day of the Sale. The bidding number system is sometimes referred to as “paddle bidding”. You will be issued with a large card (a “paddle”) with a printed number on it. This will be attributed to you for the purposes of the Sale. Should you be a successful Bidder you will need to ensure that your number can be clearly seen by the Auctioneer and that it is your number which is identified as the Buyer’s. You should not let anyone else use your paddle as all Lots will be invoiced to the name and address given on your Bidder Registration Form. Once an invoice is issued it will not be changed. If there is any doubt as to the Hammer Price of, or whether you are the successful Bidder of, a particular Lot, you must draw this to the attention of the Auctioneer before the next Lot is offered for Sale. At the end of the Sale, or when you have finished bidding please return your paddle to the Bidder registration desk. Bidding by telephone (only available on lots with a low estimate greater than £ 500) If you wish to bid at the Sale by telephone, please complete a Telephone Bidding Form, which is available from our offices or in the Catalogue. Please then return it to the office responsible for the Sale at least 24 hours in advance of the Sale. It is your responsibility to check with our Bids Office that your bid has been received. Telephone calls will be recorded. The telephone bidding facility is a discretionary service and may not be available in relation to all Lots. We will not be responsible for bidding on your behalf if you are unavailable at the time of the Sale or if the telephone connection is interrupted during bidding. Our staff will be available for phone calls in foreign languages as long as previously agreed. Bidding by post or fax Absentee Bidding Forms can be found in the back of this Catalogue and should be completed and sent to the office responsible for the Sale. It is in your interests to return your form as soon as possible, as if two or more Bidders submit identical bids for a Lot, the first bid received takes preference. In any event, all bids should be received at least 24 hours before the start of the Sale. Please check your Absentee Bidding Form carefully before returning it to us, fully completed and signed by you. It is your responsibility to check with our Bids Office that your bid has been received. This additional service is complimentary and is confidential. Such bids are made at your own risk and we cannot accept liability for our failure to receive and/or place any such bids. All bids made on your behalf will be made at the lowest level possible subject to Reserves and other bids made for the Lot. Where appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer’s bidding increments. New Bidders must also provide proof of identity and address when submitting bids. Failure to do this will result in your bid not being placed. Bidding via the internet Please visit our Website at www.bertolamifinearts.com for details of how to bid via the internet. Bidding through an agent Bids will be accepted as placed on behalf of the person named as the principal on the Bidding Form although we may refuse to accept bids from an agent on behalf of a principal and will require written confirmation from the principal confirming the agent’s authority to bid. For further details, please contact Customer Services of Bertolami Fine Arts LTD. 6. CONTRACTS BETWEEN THE BUYER AND SELLER AND THE BUYER AND BERTOLAMI FINE ARTS LTD On the Lot being knocked down to the Buyer, a Contract for Sale of the Lot will be entered into between the Seller and the Buyer on the terms of the Contract for Sale set out in Appendix 1 at the back of the Catalogue. You will be liable to pay the Purchase Price, which is the Hammer Price plus any applicable VAT. At the same time, a separate contract is also entered into between us as Auctioneers and the Buyer. Please read the terms of

the Contract for Sale and our Buyer’s Agreement contained in the Catalogue in case you are the successful Bidder. We may change the terms of either or both of these agreements in advance of their being entered into, by setting out different terms in the Catalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale. 7. BUYER’S PREMIUM AND OTHER CHARGES PAYABLE BY THE BUYER Under the Buyer’s Agreement, a premium (the Buyer’s Premium) is payable to us by the Buyer in accordance with the terms of the Buyer’s Agreement and at rates set out below, calculated by reference to the Hammer Price and payable in addition to it. Storage charges and Expenses are also payable by the Buyer as set out in the Buyer’s Agreement. The following Buyer’s Premium is write in the “informations for buyers”. In order to harmonize tax procedures among EU countries, with effect from 1 January 2001 new rules were introduced with the extension to the Auction Houses of the margin scheme. Article. 45 of Law 342 of 21 November 2000 provides for the application of the scheme to sales concluded in execution of contracts of commission defined: • private clients; • clients to tax that the operation subject to the margin scheme; • Customers who have not been able to deduct the tax in accordance with Art. 19, 19 bis, and 19-bis2 the DPR. 633/72 (which have sold well in free ex-Art. 10, 27-d) • customers who benefit from the exemption arrangements provided for small businesses in the State of origin. By virtue of special legislation, in cases mentioned above any VAT tax, or a sum in lieu of VAT, if applicable, it is charged by the Auction House. No symbol will be used for lots sold under the margin scheme. 8. PAYMENT The payment of the sold lots must be made immediately after the auction and can be made by bank transfer, cash, check, bank check bank account, credit card (Visa or Mastercard). If it could occur exceptional change variations due to imponderable situations, Bertolami Fine Arts LTD may, in its sole discretion, issue invoices in UK pounds (GBP), US dollars (USD), Euros (EUR). If the invoice are counted in Euros or US dollars, we will apply the exchange rate between UK pounds and Euros or UK pounds and US dollars fixed at the time of the contract of sale (auction date). Bertolami Fine Arts LTD billed to the same person that is at the registration of the pallet unless otherwise agreed previously agreed with the Administration. As required by law, Bertolami Fine Arts LTD is obliged to call for their customers to show an identity document (identity card, driving license, passport) and confirmation of address. The buyer intends to pay by check’s bank must make arrangements with the Administration. It’s not possible deliver the goods before the payment by check or bank draft until encashment of the check, unless otherwise agreed prior to the auction. You will find the bank details in the invoice. Payment can be made by Visa or Mastercard only by the cardholder. Bertolami Fine Arts LTD reserves the right to check the source of the payments received. Bertolami Fine Arts LTD reserves the right to refuse payments received from different people by the purchaser. However, in limited circumstances and in any case with the consent of the seller, Bertolami Fine Arts LTD has the ability to offer buyers it deems reliable the option of paying for goods purchased at cadences deferred. The mode of deferred payment will be set out before the sale. Before considering whether or not to grant deferred payments, Bertolami Fine Arts LTD may ask for references and documentation on the reliability of the buyer’s identity and reliability.

It will not allow anyone to withdraw the lot until it will be canceled, unless it has been granted a credit before the auction. 9. COLLECTION It is Bertolami Fine Arts LTD policy to request proof of identity on collection of a lot. Lots will be released to you or your authorized representative when full and cleared payment has been received by Bertolami Fine Arts LTD. 10. STORAGE Storage and handling charges may apply. For information concerning post sale storage and charges, please contact our Customer office. 11. LOSS OR DAMAGE Buyers are reminded that Bertolami Fine Arts LTD accepts liability for loss or damage to lots for a maximum period of ten (10) days after the date of the auction. 12. SHIPPING Bertolami Fine Arts LTD Shipping Department can advise buyers on exporting and shipping property. You can contact the Customer service on the number that you see in our website. All of the cost concerning the shipment must be payable by the buyer. Additionally, a form to provide shipping instructions is attached to the buyer’s invoice. Your shipper will include a quote for transit insurance. All shipments should be unpacked and checked on delivery and any discrepancies notified to the transit insurer or shipper immediately. 13. THE SELLERS AND/OR BERTOLAMI FINE ARTS LTD’ LIABILITY Besides the responsibilities and obligations of sellers and Bertolami Fine Arts LTD above, neither sellers nor Bertolami Fine Arts LTD shall be held responsible for any error in the description of the lots or in their estimates for the sale and for any omissions that may result in losses or damage to property or assets to the purchaser. 14. DATA PROTECTION – USE OF YOUR INFORMATION Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy(subject to any additional specific consent(s) you may have given at the time your information was disclosed).

Invitation to Consign We are now accepting consignments for the Spring Auctions in Rome:

Ceramics, Antiquities, Old Masters, Modern & Contemporary Art