Antiquities from the Mougins Museum of Classical Art
LONDON | 4 DECEMBER 2024
FRONT COVER
Lot 34
HENRI MATISSE (1869-1954)
Académie, buste ancien
signed ‘Matisse’ (lower right) charcoal and brown chalk on paper © Succession H. Matisse/ DACS 2024
PAGE 2
Lot 21
PAGE 4
Lot 14 & Lot 24
INSIDE BACK COVER
Lot 24
Wednesday 4 December 2024 at 3.30 pm
8 King Street, St. James’s London SW1Y 6QT
VIEWING
Saturday 30 November 12.00 pm - 5.00 pm
Sunday 1 December 12.00 pm - 5.00 pm
Monday 2 December 9.00 pm - 8.00 pm
Tuesday 3 December 9.00 am - 5.00 pm
Wednesday 4 December 9.00 am - 3.30 pm
Eugenio Donadoni
AUCTION CODE AND NUMBER
In sending absentee bids or making enquiries, this sale should be referred to as MOUGINS-22759
ABSENTEE AND TELEPHONE BIDS
Tel: +44 (0)20 7389 2658
Fax: +44 (0)20 7930 8870
CONDITIONS OF SALE
The sale of each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out in this catalogue and on christies.com. Please note that the symbols and cataloguing for some lots may change before the auction.
For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com.
In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol.
Check Section D of the Conditions of Sale at the back of this catalogue.
Please note that all lots denoted with a red dot • will be offered with no reserve.
SALE COORDINATOR
Eleonora Pontiggia epontiggia@christies.com
Tel: +44 (0)207 389 2049
REGIONAL MANAGING DIRECTOR
Ben Wiggins bwiggins@christies.com
Tel: +44 (0)207 389 2288
For general enquiries about this auction, emails should be addressed to epontiggia@christies.com
I think I have always been a collector – it started with First and Second World War campaign medals as a child and continued with medieval and Roman coins into my late teens and early twenties, which in turn led to a growing fascination with every aspect of the ancient world. I owned Minerva Magazine, the leading international ancient art and archaeological journal, between 2010 and 2019, sponsored key international exhibitions, including at The British Museum and Royal Academy of Arts in London, and The Metropolitan Museum of Art in New York; and supported archaeological endeavours in the UK, Italy, Egypt and Spain.
This great passion for the antique world and its legacy ultimately led to the founding of the Mougins Museum of Classical Art, the first of its kind to display and juxtapose ancient Egyptian, Greek and Roman works of art in dialogue with classically-inspired art of later periods from the Baroque through to cutting-edge Contemporary works. Mougins itself, a source of such inspiration to artists including Picasso, Picabia, Cocteau, Chagall and Dufy, was integral to this approach – and was the perfect location to demonstrate how the ancient world has inspired and influenced artists through to the modern day.
This pioneering approach to curation and displaying works of art is a trend that, since our opening, has spread through museums and gallery shows globally. Our vitrines in Mougins juxtaposed these ancient-tomodern connections perfectly. The most photographed display was the museum’s Aphrodite (or Venus) cabinet, showing a Roman torso of Venus alongside Yves Klein’s Aphrodite from 1962, positioned along from Dali’s statute of Venus as a Giraffe, with Warhol’s screenprint of Botticelli’s Venus in the background of the cabinet and a drawing of the Venus de Milo by Cezanne in the foreground.
Antiquities from the Mougins Museum of Classical Art is the fourth auction in the series celebrating my ‘Collecting Odyssey’. It focuses on the best ancient works of art in the collection, from ancient Egypt to the fall of the Roman Empire and the advent of Christianity. Ancient art, and my deep fascination with it, has always been at the core of the museum’s collection – the starting point from which the narrative of the museum would unfold.
A small and finely carved Roman cinerarium urn (lot 14) appears in an etching by Piranesi as an object of display, demonstrating its importance to its 18th-century owner as a symbol of their status and sophistication. Similarly, a striking portrait of the infamous Emperor Caracalla, of the same type as the example in the museum (lot 34), inspired Henri Matisse’s drawing of the emperor at the end of the 19th century. One of the highlights of the sale, and one of the most photographed works of art in the museum, is the Beth Shean Herm (lot 29). This monumental double-headed herm of Bacchus and Ariadne was found at the ancient site of Beth Shean and was acquired by English politician and writer Somerset de Chair, who had been posted in Jerusalem during the Second World War. It subsequently travelled to England, where it took pride of place at de Chair’s Kent residence, Chilham Castle.
The final chapter of A Collecting Odyssey will take place online from 26 November until 10 December. Works of Art from the Mougins Museum of Classical Art will encompass objects and artworks from Antiquity to the 21st Century, all inspired by the Classical world –reflecting the dialogue of the Mougins Museum of Classical Art itself. Greek and Roman masterpieces, as well as ancient arms and armour, will be offered alongside Modern and Contemporary works in a variety of different media, including sculptures, paintings and works on paper, by artists such as Alexander Calder and Damien Hirst.
The Mougins Museum of Classical Art achieved enormous success in every different aspect of a museum’s life and objectives. It won the Apollo Magazine ‘new museum of the year award’ in 2011. In the same year, it was nominated for an international museum design award. In 2013 it was the only museum in France to be nominated for European Museum of the Year, and won a number of French cultural awards, as well as enjoying constant positive press in the art sections of major international newspapers and art magazines. Additionally, it had unanimously great reviews on Google and TripAdvisor, and almost since opening was credited with Tripadvisor’s Certificate of Excellence. School groups of all ages were daily visitors, as were international museum curators, patrons and artists. We held exhibitions ourselves, including modern artists with classical periods, such as Picasso, Raoul Dufy and even Sean Scully.
Being able to share my collection with the public in this way and see how much enjoyment it has given visitors from all over the world has given me an immense amount of pleasure and I am hugely proud of everything we have achieved. After being open for 12 years and having received nearly a quarter of a million visitors, I decided to dramatically change the direction of the Mougins Museum, which re-opened in June 2024 with a completely different focus, in the form of FAMM – a museum dedicated to female artists.
With it being increasingly difficult to find great antiquities with museum provenance, this series of sales is truly an incredible opportunity for foundations, museums and collectors alike, to become the next custodians of these masterworks and to be a part of their timeless ongoing story.
CHRISTIAN LEVETT
LATE PERIOD, 26TH DYNASTY, CIRCA 664-525 B.C.
8æ in. (22.4 cm.) high
£8,000-12,000
PROVENANCE:
US$11,000-16,000
€9,600-14,000
William Amhurst Tyssen-Amherst, 1st Baron Amherst of Hackney (1835-1909); thence by descent. The Amherst Collection: Egyptian & Oriental Antiquities, Sotheby's, London, 13-17 June 1921, lot 116. French private collection; thence by descent. with David Aaron Ancient Arts, London. Acquired by the current owner from the above, 2020.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA674).
LITERATURE:
"Egyptian Art Over 3000 Years Ago: Gems of the Amherst Sale", The Illustrated London News, Saturday 11th June 1921, p. 783.
William Amhurst Tyssen-Amherst was predominantly a collector of books and manuscripts, but he also enjoyed collecting Egyptian works of art with his daughter, Lady William Cecil. The pair undertook extensive excavations in the Nile valley, notably at Tell el-Amarna in 1891-2 and at Aswan in 1902-4, acquiring many pieces during their travels. The collection was preserved in Tyssen-Amherst's country home, Didlington Hall in Norfolk, where he built a museum for the works. His collection of books and manuscripts and antiquities were dispersed at Sotheby's in 1909 and 1921 respectively.
AN EGYPTIAN BRONZE AMUN IN THE GUISE OF ONURIS
LATE PERIOD, 26TH DYNASTY, CIRCA 664-525 B.C. 9√ in. (25 cm.) high
£25,000-35,000
PROVENANCE:
Leopold Hirsch (1867-1932), London.
US$33,000-45,000
€30,000-42,000
The Property of Leopold Hirsch, Esq., Christie's, London, 7 May 1934, lot 170. William Randolph Hearst (1863-1951), New York and California. with The Brummer Gallery, New York, acquired from the above, 1940 (Inv. no. N4712).
The Ernest Brummer Collection, Vol. II, Spink & Son and Galerie Koller, Zurich, 16-19 October 1979, lot 520.
The Resandro Collection, Munich, acquired from the above.
The Resandro Collection, Christie's, London, 6 December 2016, lot 141. Art market, London, acquired from the above. Antiquities, Christie's, New York, 28 October 2019, lot 453. with David Aaron Ancient Arts, London (David Aaron, 2019, no. 11).
Acquired by the current owner from the above, 2020.
EXHIBITED:
Munich, Staatliche Sammlung Ägypischer Kunst, Entdeckungen, Ägyptische Kunst in Süddeutschland, 30 August-6 October 1985. Berlin, Ägyptisches Museum und Papyrussammlung; Berlin, Staatliche Museen; Munich, Staatliche Sammlung Ägyptischer Kunst; Hamburg, Museum für Kunst und Gewerbe, Gott und Götter im Alten Ägypten, 1992-1993. Musée d'Art Classique de Mougins, 2020-2023 (Inv. no. MMoCA854).
LITERATURE:
S. Schoske and D. Wildung, Entdeckungen: Ägyptische Kunst in Süddeutschland, Munich, 1985, pp. 128-129, no. 111.
S. Schoske and D. Wildung, Gott und Götter im Alten Ägypten, Mainz am Rhein, 1993, pp. 34-35, no. 18.
H.J.A. de Meulenaere, Review of S. Schoske and D. Wildung, Gott und Götter im Alten Ägypten, Orientatalis 5/6, September-November 1993, pp. 630-631. J. Malek, et al., Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Statues, Reliefs and Paintings, Oxford, 1999, vol. 8, part 2, p. 1028, no. 802-002-800.
C. Leitz, ed., Lexikon der ägyptischen Götter und Götterbezeichnungen, Leuven, 2002, vol. 1, p. 320, no. 71.
I. Grimm-Stadelmann, ed., Aesthetic Glimpses: Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p. 102, no. R-378. The Brummer Gallery Records, The Metropolitan Museum of Art, New York, no. N4712.
Although the warlike stance and attributes (curled wig, long kilt) of this figure evoke the god Onuris, the inscriptions on both upper and lower bases allow no doubt as to its identification as an incarnation of “Amun-Ra, king of the gods.” Dedicated by a man named Nes-ptah, son of Wenem-[di]-Amun, this figure is closely related in style, inscription and function to a bronze figure dedicated by the same individual now in Liverpool (acc. no. M. 11594; see J. Malek, et al., eds., op. cit., no. 802-002-600). Similarly featuring a deity with upraised right arm holding a mace, Nes-ptah’s dedication on the base of the Liverpool statuette invokes Amun-Ra as “Slayer of Enemies,” while the bearded face is one normally identified with the god Bes. The warlike poses of these statuettes also evoke deities with foreign associations such as Ba’al and Reshef, although according to de H. Meuelenaere (“Over vier Egyptische bronzen beeldjes uit de Saitische tijd,” OMRO 30, pp. 10-15), the precise iconography of these foreign gods appears to have fallen into obscurity by the Late Period.
Both statuettes appear to have been commissioned by Nes-ptah as apotropaic images representing various forms of Amun-Re, and contain wishes for a long life and an elevated and perfect old age. As the name Amun means “the Hidden One,” this god is especially well suited to a variety of different outward forms. The selection of the iconography of Onuris or Onuris-Shu is particularly well suited to a protective function, given the cosmic role of Onuris as helper of Re against the serpent Apophis. A further Saite bronze statuette of Amun-Re is known in the form of a male deity with crocodile head (see the example in Munich, Schoske and D. Wildung, op. cit., 1985, cat. 113, 129-130 and cover), another instance in which the identity of Amun-Ra is only made clear by the naming of the god in the dedicatory inscription on the base.
AN EGYPTIAN WOOD FUNERARY BED LEG
PTOLEMAIC PERIOD-ROMAN PERIOD, CIRCA 300 B.C.-300 A.D.
14 in. (35.5 cm.) high
£8,000-12,000
US$11,000-16,000
€9,600-14,000
PROVENANCE: with Ralph Huntington Blanchard (1875-1936), Blanchard’s Egyptian Museum, Cairo.
Edward Drummond Libbey (1854-1925), founder of the Toledo Museum of Art, Ohio, acquired from the above in 1906.
Property of the Toledo Museum of Art, Sold to Benefit the Acquisitions Fund; Antiquities, Sotheby's, New York, 12 June 1993, lot 88.
U.S. private collection, acquired from the above.
Antiquities, Bonham's, London, 1 May 2008, lot 3.
with Royal-Athena Galleries, New York, 2009 (Art of the Ancient World, vol. XX, no. 194).
Acquired by the current owner form the above, 2010.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA638).
LITERATURE:
Catalogue of a Collection of Egyptian Antiquities Brought Together and Presented to the Toledo Museum of Art, 1906, p. 36, no. 230.
C. Dauphin, Animals in the Ancient World: The Levett Bestiary, Mougins, 2014, pp. 28, 85.
C. Dauphin, Les animaux dans le monde antique: Le bestiaire Levett, Mougins, 2016, p. 26, fig. 22, p. 76.
Many other examples of similar Egyptian furniture have survived. In particular, the entire funerary bed of Herty, dating to the Roman period, cf. Royal Ontario Museum Toronto inv. no. 910.27. This was discussed extensively in W. Needler, An Egyptian Funerary Bed of the Roman Period in the Royal Ontario Museum, Occasional Paper 6, Toronto, 1963. Another example can be found in the Royal Ontario Museum, Toronto, acc. no. 910.37.9B. Other wooden examples are in Liverpool, Birmingham, and Worcester (MA, USA). A faience example in similar style in the Metropolitan Museum (1977.170) is given a date in the 4th century B.C.
AN EGYPTIAN BRONZE HEAD OF THE GODDESS WADJET
LATE PERIOD, CIRCA 664-332 B.C.
4Ω in. (11.4 cm.) high
£10,000-15,000
PROVENANCE:
US$13,000-19,000
€12,000-18,000
Charles Gillot (1853-1903), Paris; thence by descent (recorded as no. 95 on a dated 11 April 1903 inventory list of Gillot's collection). Ancienne Collection Charles Gillot (1853-1903), Christie's, Paris, 4-5 March 2008, lot 127.
U.K. private collection, acquired from the above. London art market, acquired from the above, 2018. Antiquities, Christie's, New York, 28 October 2019 (unsold). with David Aaron Ancient Arts, London. Acquired by the current owner from the above, 2020.
EXHIBITED:
Musée d'Art Classique de Mougins, 2020-2023 (Inv. no. MMoCA852).
Wadjet was the tutelary deity of Lower (northern) Egypt, the area of the Nile Delta. She was one of the "Two Ladies," the vulture goddess Nekhbet being the other. Every Pharaoh included in his long and complicated titulary a "Two Ladies" name. This was usually listed second in the order of his titles. More commonly represented as a cobra or a woman with a cobra head, she was often represented as the uraeus, a rearing cobra on the crowns of pharaohs, signifying her role as a protector of kings and a guardian of the land. In some depictions however, the Egyptian goddess Wadjet is portrayed with a lioness head, symbolizing her fierce protective nature. This lion-headed form connects her to other warrior goddesses like Sekhmet, emphasizing her role as a guardian of pharaohs and the land of Lower Egypt. As a lioness, Wadjet embodies both the nurturing and defensive aspects of motherhood, fiercely protecting her people and the king. This duality
highlights her powerful association with protection, warfare, and divine justice in ancient Egyptian mythology. For a seated bronze figure of Wadjet with similar uraeus, see an example in the Louvre Museum, inv. no. E 3791.
This Wadjet was formerly in the collection of Charles Gillot (18531903), a Parisian inventor and collector. Charles's father, Firmin, invented the gillotage, a photoengraving technique that allowed for the simultaneous printing of text and images. Charles improved this technology throughout his life while he also amassed an important collection of ancient, Islamic, Japanese and medieval works of art. The majority of Gillot's collection was dispersed at auction in 1904 by the Durand-Ruel gallery with a later sale, 104 years later, conducted by Christie's Paris.
AN EGYPTIAN BRONZE CAT
LATE PERIOD, 26TH-30TH DYNASTY, CIRCA 664-343 B.C.
8√ in. (22.5 cm.) high
£60,000-80,000
PROVENANCE:
London art market.
Antiquities, Christie’s, London, 28th November 1979, lot 231. Irish private collection, acquired at the above.
Antiquities, Christie's, London, 26th April 2012, lot 136. with David Aaron Ancient Arts, London. Acquired by the current owner from the above, 2020.
EXHIBITED: Mougins, Musée d'Art Classique, 2020 - 2023 (Inv. no. MMoCA851).
US$78,000-100,000
€72,000-96,000
The seated feline is depicted in an alert stance, forepaws together, the long tail curled around its right side of the body, the muzzle incised with radiating whiskers, and the erect ears are detailed with horizontal striations. It wears a protective lion-headed aegis on its chest, suspended on a cowry shell necklace and decorated with three tassels on the nape of the neck, with a naturalistic Khepri-scarab in raised relief on the crown of head. For another large bronze cat wearing a similar cowrie-shell necklace with an aegis pendant see the Louvre Museum, inv. no. N 4538.
AN EGYPTIAN STUCCO MUMMY MASK OF A WOMAN ROMAN PERIOD, CIRCA LATE 1ST CENTURY A.D. 13 in. (33 cm.) high
£10,000-15,000
US$13,000-19,000
€12,000-18,000
PROVENANCE: with Mathias Komor (1909-1984), New York. Richard Avedon (1923-2004), New York. Property from the Estate of Richard Avedon, Sotheby's, New York, 14 October 2005, lot 41.
U.S. private collection, New York, acquired from the above. Property of a New York Collector; Antiquities, Christie's, New York, 3 June 2009, lot 29.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA349).
LITERATURE:
J. Pollini, "Roman Marble Sculpture," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 78, fig. 10.
Her black-painted hair is arranged in rows of circular curls at the front and pulled into a chignon at the crown of the head, with a straight nose, high cheek bones, and a rounded chin, the small mouth pursed into a smile. She wears an applied beaded necklace, some beads preserved high on the neck, and with portions of a blue-green mantle preserved behind the head. For similar female masks wearing large necklaces of different shaped beads high up on their necks, see S. Walker and M. Bierbrier, Ancient Faces, London, 1997, pp. 134 and 136-137, nos 137 and 141-142.
Richard Avedon (1923-2004) was an influential American photographer known for his groundbreaking work in fashion and portrait photography. He rose to prominence with his innovative style, characterized by dynamic compositions and a focus on the personality of his subjects. His fashion work, notably for Harper's Bazaar and Vogue, broke traditional norms by capturing models in movement and unexpected settings. Beyond fashion, Avedon's portraits of cultural figures, political leaders, and everyday people, often shot against stark white, revealed deep emotional insight. His work profoundly shaped modern photography, blurring the lines between art and commerce.
PTOLEMAIC PERIOD - ROMAN PERIOD, CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.
13 in. (33 cm.) high.
£40,000-60,000
PROVENANCE:
US$52,000-78,000
€48,000-72,000
Maurice Jules Abel Lefranc (1863-1952), Élincourt-Sainte-Marguerite and Paris, acquired late 19th century; thence by descent.
Miniatures, Tableaux, Archéologie, Asie, Objets d'art, Art Nouveau, Art Déco, Design, Mobilier; Binoche et Giquello, Hôtel Drouot, Paris, 19 June 2013, lot 91. with Sycomore Ancient Art, Geneva. Acquired by the present owner from the above, 2014.
EXHIBITED:
Musée d'Art Classique de Mougins, 2014-2023 (Inv. no. MMoCA833).
The gilt face of the deceased is depicted with painted brows, extended eyeline and eyes, while wearing an elaborate headdress moulded in stucco and gilt, with a band of rosettes, central sun-disc flanked by uraei, vulture wings spread either side, and a band of uraei wearing sun-discs. The headdress is surmounted by a gilt Horus falcon in relief surrounded by a row of papyrus painted in polychrome over gesso, with rows of animal-headed deities holding the was sceptre surmounted by a row of uraei at the back, and rows of seated deities at either side of the face.
The ancient Egyptians believed that for the ank (transfigured spirit) of the deceased to live happily in the afterlife, it should forever be bound to a representation of the physical body. The mummified body provided this role; however, to guarantee against any threat to this fundamental connection due to accidental destruction of the mummy, a
substitute body in the form of a statue or coffin could be provided. True embalming began in about 2600 B.C., with the extraction of the organs, and reached the height of its technique in about 1000 B.C. The brain was removed and discarded, while the principal organs of the body cavity (lungs, liver, heart and stomach) were kept separately in canopic jars or boxes. The limbs and skin were padded out, false eyes and hair were added, all to make the deceased appear as true to life as possible. The wrapped mummy would be placed in one or multiple coffins of various shapes, materials and styles, depending on the fashions of the time. Cartonnage masks, providing a highly stylized image of the deceased, were first used in the First Intermediate Period (c. 2160-2025 B.C.), with gilded faces becoming popular in the Second Intermediate Period (c. 1700-1550 B.C.). Their inclusion in the burial trappings fell out of practice in the Twenty-First Dynasty only to reappear in the Late Period and Ptolemaic Period, alongside pectorals and foot bases made from the same material and attached to the outer wrappings.
The use of the colour gold in Egyptian funerary art derives from the wish of the deceased to be associated with Osiris, the god of rebirth, whose flesh was thought to be of gold. In Ptolemaic and Roman Egypt it was commonplace for the mummified body, before bandaging, to have the face, chest and nails decorated with gold leaf. The magical properties of gold were written about in an Egyptian funerary text reading "the radiation of Light reaches you, she who if truly the divine body of Osiris. Gold will illuminate your face in the world between, you will come forth because of gold".
For a similar mask see inv. no. 1917.12 in the Bowdoin College Museum of Art, and H. Froschauer & H. Harrauer, Tod am Nil, Totenkult im antiken Ägypten, 2003, pp. 86-88 n°4, ill. cover.
Also see pp. 32-34, nos 3-5 in S. Walker and M. Bierbrier, Ancient Faces, Mummy Portraits From Roman Egypt, London, 1997 for mummy cases with similar rosette head bands.
AN EGYPTIAN LIMESTONE ROUND-TOPPED STELE FOR IRET-HOR-RU
PTOLEMAIC PERIOD, CIRCA 332-30 B.C.
20 in. (50.8 cm.) high
£30,000-50,000
PROVENANCE:
U.S. private collection, New York. Antiquities, Sotheby Parke Bernet, New York, 19 May 1979, lot 325. U.S. private collection, Pennsylvania.
US$39,000-65,000
€36,000-60,000
Property from a Pennsylvania Private Collection; Antiquities, Sotheby's, New York, 6 June 2006, lot 75. with Charles Ede, London, (Egyptian Antiquities, 2010, p. 16). Acquired by the current owner from the above, 2010.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA548).
LITERATURE:
P. Clayton, "Ancient Egypt," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 37, fig. 10.
M. Merrony, "L'Ancienne Egypte," in M. Merrony ed., Musée d'Art Classique de Mougins: La Collection Famille Levett, Mougins, 2012, p. 25.
Carved in limestone with traces of original colour, this round-topped stela of a priest of Onuris called Iret-Hor-ru seems almost certainly to derive from Abydos, one of the main centres of the worship of that deity. The lunette of the stela depicts Iret-Hor-ru wearing a broad collar and a long kilt with his arms in an attitude of praise before a table of offerings piled high with a lotus bouquet, bread loaves, and fowl, below which two large sealed wine jars sit on stands. To the left are the objects of his worship: the divine triad of Abydos, composed of standing mummiform figure of Osiris Khentyamentiu, followed by falcon-headed Horsiusiri (Horus, son of Osiris), and finally Isis, these last two each with a single arm raised. All of the figures stand within an enormous shrine topped by uraei, below which a winged sun disk is represented on both the cavetto cornice and the lintel. The shrine is shown as a portable one on a sledge, the front of which may be seen at bottom right; this type of portable shrine is better known from (for example) the canopic shrine of Tutankhamun. Above this scene, the lunette of the stela is dominated by a larger winged sun disk, below which a central nefer sign (meaning “beautiful”) is approached on either side by personified udjat-eyes, each with a single human arm raised in greeting, while the eyes each rest on the heb-sign symbolizing festival. Behind each of these, a sekhem-wand, an emblem of power, stands before a recumbent Anubis jackal. Stylistically, the stela seems to fit well within the Abydos group studied by Munro, but exact parallels make the dating a matter of conjecture. However, a date in the Ptolemaic era seems likely.
The inscription in three horizontal registers of hieroglyphs in sunk relief give the name and titles of Iret-Hor-iru, his father, and his mother. Iret-hor-iru is called “the imy-is priest, the hesek-priest, the one who embraces the udjat-eye, the royal acquaintance,” a sequence of titles extremely well-attested at Abydos during the Late Period. The imy-is priest seems to have been associated especially with the cults of primeval gods Shu and Tefnut, while the hesek-priest was connected to the worship of Osiris. Iret-Hor-iru is also here called “the scribe of the temple of Onuris, Lord of Shayet,” and a series of other titles as well as the name of his father Anhuriuf-ankh connect both men to this god, whose primary cult place was at Thinis in the Abydos nome (Shayet was probably a nearby cult center of Onuris). The mother of Iret-Hor-iru can be tentatively read as Het-ir-es. Given the preponderance of titles connected to the god Onuris, it is possible that the stela derives from a locality on the eastern bank of the Nile, close to the ancient city of Thinis.
CIRCA MID-7TH CENTURY B.C.
4½ in. (11.5 cm.) diam.
£15,000-25,000
PROVENANCE:
Colonel Norman Colville, M.C. (1893-1974), Cornwall; thence by descent. The Property of a Gentleman; Antiquities, Christie's, London, 15 May 2002, lot 374. Swiss private collection, acquired from the above. with Bader Kunsthandel, Lucerne, 2002. Swiss private collection. with Jean-David Cahn, Basel, 2008 (Tiere und Mischwesen, vol. VII, no. 41). Acquired by the current owner from the above, 2009.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA358).
LITERATURE:
US$20,000-32,000
€18,000-30,000
J. Boardman, "Greek Art," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 70, fig. 54.
This precious container is built in two parts, each sheet gold section decorated in repoussé with an encircling frieze of Orientalizing animals including a bull, lion, goat and antelope, rosettes in the field. The lower bowl section is adorned with a band of Greek key pattern above and a tongued frieze around the base.
AN ETRUSCAN GOLD FUNERARY WREATH
CIRCA 3RD CENTURY B.C.
12Ω in. (31.8 cm.) long
£50,000-80,000
PROVENANCE:
Antike Kunstwerke, Ars Antiqua AG, Luzern, 2 May 1959, lot 138. Antonetto Collection, Lugano-Paradiso, Switzerland; thence by descent. with Rupert Wace Ancient Art, London. Acquired by the current owner from the above, 2012.
EXHIBITED: Musée d'Art Classique de Mougins, 2012-2023 (Inv. no. MMoCA803).
LITERATURE:
"C'est quoi cette oeuvre," Mougins Infos, 2020, no. 74.
US$65,000-100,000
€60,000-96,000
This broad sheet gold funerary wreath is decorated with multiple layers of ribbed laurel leaves flanking a large central raised boss with rays. Three similar smaller bosses appear at each end. The stamped terminal plates are each decorated with a sea creature in relief holding a dolphin in each hand, their fishtails ending in dog faced(?)-protomes. The delicate sheet gold nature of the piece and the stamped decoration, rather than the much more time-consuming and complicated granulation and wire work, typical of Etruscan jewellery, is typical of funerary ornaments rather than the sturdier jewellery of every day use.
For two very similar wreaths in the Metropolitan Museum of Art, New York, see acc. nos. 95.15.251 and 95.15.250. For a wreath in the British Museum (inv. no. 1872,0604.812) with two semi-circular terminal plates stamped with a bearded sea god with serpent tail and holding two fish or dolphins in his hands, see M. Cristofani and M. Martelli, L'oro Degli Etruschi, Novara, 1983, pp. 65, fig. 13c, p. 217 and 310, no. 231.
ATTRIBUTED TO THE TARQUINIA PAINTER, CIRCA 460 B.C.
9¿ in. (23.2 cm.) diam. excl. handles
£20,000-30,000
PROVENANCE:
Said to be from Etruria, possibly Tarquinia.
US$26,000-39,000
€24,000-36,000
Collection of British government official, stationed in Italy, circa 1870; thence by descent, England. English private collection, acquired circa 1923.
Antiquities, Sotheby's, London, 14 November 1966, lot 120.
Antiquities, Sotheby's, London,13-14 July 1987, lot 399. with Charles Ede, London (Pottery from Athens, 1990, no. 28).
Thomas C. Simiele, Ohio, acquired from the above,1990.
The Property of Thomas C. Simiele, Ohio; Antiquities, Christie's, New York, 7 December 2011, lot 109.
EXHIBITED:
Musée d'Art Classique de Mougins, 2012-2023 (Inv. no. MMoCA786).
LITERATURE:
J.D. Beazley, Paralipomena, Oxford, 1971, p. 427, no. 77bis.
J.-L. Durand and F. Lissarrague, "Un Lieu d'Image?, L'espace du louterion," Hephaistos, vol. 2, 1990, p. 98, fig. 14.
T.H. Carpenter, Beazley Addenda, second edition, Oxford, 1989, p. 300, no. 870.77bis. Beazley Archive Pottery Database no. 276018.
The tondo is framed by a band of meander and decorated with a youth at a laver, standing in profile to the left, his torso turned three-quarter frontal. He wears a voluminous himation draped over his left shoulder, leaving his right shoulder exposed and with his arm extending forward with his hand above the laver. Two attributes, perhaps a sandal and a stylus, appear hanging behind him.
AN ATTIC BLACK-FIGURED BAND CUP
CIRCA 540-530 B.C.
8º in. (21 cm.) diam. excl. handles
£10,000-15,000
PROVENANCE:
US$13,000-19,000
€12,000-18,000
Sybille Rosenbaum-Kroeber (1915-1997), Berlin, acquired circa 1964. with Royal-Athena Galleries, New York (Art of the Ancient World, vol. XIV, 2003, no. 91; 1000 Years of Ancient Greek Vases, vol. II, 2010, no. 53). Antiquities, Christie’s, New York, 7 December 2006, lot no. 78. with Royal-Athena Galleries, New York. Acquired by the current owner from the above, 2011. Beazley Archive Pottery Database no. 26021.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA734).
Decorated with erotic scenes on each side; a copulating couple is flanked by running nude males and standing draped male onlookers. As C. Johns informs (pp. 117-120 in Sex or Symbol? Erotic Images of Greece and Rome, 1982), erotic scenes feature most prominently on drinking vessels and are connected to symposia. While the invited guests were all male, female consorts (hetairai) and dancers provided entertainment and sexual services for the men. It is therefore not surprising that such scenes appear on vases that were used in this context. Though dancers are more common around the erotic scene, cloaked bystanders do occur elsewhere as well, cf. a Little Master cup in the Antikenmuseum der Universität Leipzig, inv. no. T 3359.
AN APULIAN GNATHIA-WARE HYDRIA
CIRCA 4TH CENTURY B.C.
18º in. (46.4 cm.) high
£8,000-12,000
PROVENANCE:
US$11,000-16,000
€9,600-14,000
Dr. Albert Hugh Lloyd (1864-1936), Christ's College, Cambridge. with Spink & Son, London.
William Randolph Hearst (1863-1951), San Simeon, California. The Hearst Corporation: Works of Art, Furniture and Architectural Elements
Collected by the Late William Randolph Hearst, Sotheby Parke Bernet, New York, 5-6 April 1963, lot 40.
Lillian Rojtman Berkman (d. 2001), New York.
Property from The Estate of Lillian Rojtman Bergman; Antiquities, Sotheby's, New York, 9 December 2004, lot 221. with Two Rivers Ltd., London.
Acquired by the current owner from the above, 2012.
EXHIBITED:
Musée d'Art Classique de Mougins, 2012-2023 (Inv. no. MMoCA811).
The ribbed body is divided by a painted band centred by a disc flanked by foliate scrolls. The large overhanging rim is moulded with egg and dart, and the neck is decorated with a necklace of beech-nut shaped pendants. For a krater decorated with a similar necklace in the British Museum, see inv. no. 1871,0722.8. and for two plainer hydria inv. nos 1871,0722.7 and 1871,0722.10.
A ROMAN MARBLE CINERARY URN
CIRCA LATE 1ST-EARLY 2ND CENTURY A.D.; WITH 18TH CENTURY RESTORATIONS ATTRIBUTED TO BARTOLOMEO CAVACEPPI (1716-1799)
10º x 10º x 7 in. (26 x 26 x 18 cm.)
£30,000-50,000
PROVENANCE: with Bartolomeo Cavaceppi (1716-1799), Rome. with Thomas Jenkins (1722-1798), Rome, acquired by 1778. Probably Giovanni Ludovico Bianconi (1717-1781), Bologna. Museo Bianconi, Bologna, by 1874. with Giuseppe Pacini, Florence, by 1882.
French private collection, Marseille, acquired in the 1970s. Antiquities, Sotheby's, New York, 3 June 2015, lot 56. with Ariadne Galleries, New York.
Acquired by the current owner from the above, 2016.
EXHIBITED:
US$39,000-65,000
€36,000-60,000
Musée d'Art Classique de Mougins, 2016-2023 (Inv. no. MMoCA842). London, Somerset House, The Classical Now, 2 March-28 April 2018.
LITERATURE:
L. G. Marini (1742-1815), Inscriptiones christianæ Latinæ et Græcæ ævi Milliarii conlegit digessit adnotationibusque auxit Caietanus Marinus a Bibliotheca Vaticana item a scriniis sedis apostolicæ. Duæ partes (Vat.lat.9122), fol. 9r.
G. Piranesi, Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati, Rome, vol. 2, 1778, pl. 89.
W. Henzen, G. B. de Rossi and C. Hülsen, Corpus Inscriptionum Latinarum, vol. VI, part V: Inscriptiones falsas urbi Romae attributas comprehendens, Berlin, 1885, p. 242, no. 3495.
E. Bormann, Corpus Inscriptionum Latinarum, vol. XI, part I: Inscriptiones Aemiliae, Etruriae, Umbriae Latinae, Berlin, 1888, p. 19, no. 107.
T. Ashby, “Thomas Jenkins in Rome,” in Papers of the British School in Rome, vol. VI, no. 8, 1913, p. 493.
M. Squire, J. Cahill and R. Allen, eds., The Classical Now, London, 2018, pp. 170-171.
The front is carved in relief with two swans perched on balustershaped bases and holding the ribbons of a large fruit-laden garland in their beaks, with four birds picking at the fruit. The recessed panel is engraved with three lines of Latin inscription: Ortes Eros Synotho donum. ‘Ortes Eros to Synothus, a gift.' W. Henzen, G. B. de Rossi and C. Hülsen (op. cit.) p. 242, condemn the inscription as falsa, not in the sense of a ‘forgery’, but as non-Roman. The inscription is not funerary and Ortes and Synothus are uncommon names, suggesting it is likely that it was added later by Cavaceppi, probably when the cinerarium became an object of display on a plinth, as depicted in the etching by Giovanni Battista Piranesi (1720–1778).
JULIO-CLAUDIAN,
14º in. (36 cm.) high
£30,000-50,000
PROVENANCE:
By repute Roger Peyrefitte (1907-2000), Paris.
US$39,000-65,000
€36,000-60,000
U.S. private collection, New York, acquired from the above in the 1960s. with Antiquarium, New York, 1992 (Myth and Majesty: Deities and Dignitaries of the Ancient World, no. 20).
Archéologie, Pierre Bergé and Associés, Drouot Montaigne, Paris, 5 December 2010, lot 225.
EXHIBITED: Musée d'Art Classique de Mougins, 2013-2022 (Inv. no. MMoCA605).
LITERATURE:
J. Pollini, "Roman Marble Sculpture," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 97, fig. 43.
C. Wrathall, "Collectors & Collections," Christie’s Magazine, January-February 2016, p. 52. M. Squire, "A Passionate Collector," Minerva, March-April 2018, p. 16, fig. 4.
This portrait depicts a young man with delicate features, beardless, with short hair arranged in comma-shaped locks which were characteristic of the hairstyle of men during the Julio-Claudian period.
This example is close to portraits of the young Germanicus Julius Caesar (15 B.C.-19 A.D.) who was the son of Drusus Major and Antonia Minor and the brother of Claudius, who later became Emperor. The coiffure is also close to portraits of the young Gaius Caesar (20 B.C.-4 A.D.) grandson and heir to the throne of the Roman emperor Augustus, alongside his younger brother Lucius Caesar, see inv. no. Ma 3517 at the Louvre Museum in K. de Kersauson, Catalogue des portraits romains. Tome I, 1986, Paris, pp. 108-109, no. 48.
For another example of a portrait of a youth from this period with distinctive hairdo, in the fashion of the hugely popular Germanicus, see acc. no. 59.148.154 in the National Museums Liverpool, World Museum, in J. Fejfer, The Ince Blundell Collection of Classical Sculpture. Volume I - the Portraits. Part 2: The Roman Male Portraits, 1997, p. 34, pls 13-14.
CIRCA 2ND-3RD CENTURY A.D.
22Ω in. (57.2 cm.) high
£30,000-50,000
PROVENANCE:
US$39,000-65,000
€36,000-60,000
German private collection. with Athena Gallery, Munich. with Royal-Athena Galleries, New York, acquired from the above, 1984 (Art of the Ancient World, vol. IV, 1985, no. 206).
Seymour Siege, Los Angeles and Scottsdale, acquired from the above, 1991. with Royal-Athena Galleries, New York, acquired from the above, 2004 (Art of the Ancient World, vol. XVI, 2005, no. 8).
Acquired by the current owner from the above, 2008.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA62).
LITERATURE:
J. Pollini, "Roman Marble Sculpture," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 93, fig. 36.
C. Dauphin, Animals in the Ancient World: The Levett Bestiary, Mougins, 2014, pp. 38, 105. C. Dauphin, Les Animaux dans le Monde Antique: Le Bestiaire Levett, Mougins, 2016, pp. 34, 94, fig. 29.
According to Woodford and Spier (p. 32, "Kerberos" in LIMC), "in Roman art, Kerberos not only appears in the traditional context of Herakles' labour and as a companion of Hades and denizen of the Underworld, but also in association with Serapis and other syncretised versions like Jupiter-Serapis, Hades-Serapis, etc." For a figure catalogued as Serapis with Cerberus in the Capitoline see inv. no. 1519 (Arachne Database no. 1104197); and for another Serapis in the Capitoline Museums see LIMC, vol. VII, p. 669, no. 10b.
CIRCA 2ND CENTURY A.D.
44Ω in. (113 cm.) high.
£50,000-80,000
PROVENANCE:
US$65,000-100,000
€60,000-96,000
Antiquities, Sotheby's, London, 3 December 1991, lot 136. with Numismatic Ancient Art Gallery, Switzerland. U.S. art market, acquired from the above, 1993. Antiquities, Christie's, London, 26 April 2006, lot 216 (unsold). Antiquities, Christie's, London, 25 October 2007, lot 55.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA583).
LITERATURE:
J. Pollini, "Roman Marble Sculpture," in M. Merrony, (ed.), Mougins Museum of Classical Art, Mougins, 2011, p. 76, fig. 4.
Standing with weight on right leg, her left foot turned slightly outwards, wearing a chiton with himation draped diagonally around her. Without original attributes to identify her, one can only postulate as to who she represents. However, the sensitive contrapposto and tightlywrapped drapery with the thick diagonal band, may point towards one of the Muses or a goddess. The Muses were often represented as personifications of their areas of patronage with a plethora of attributes and were shown in a multitude of poses: seated, standing, leaning and dancing. Sculptural groups representing the nine Muses were popular at least as early as the Hellenistic Period, and continued to be used by the Romans for the embellishment of theatres, baths, private estates, and in relief on sarcophagi.
CIRCA 1ST-2ND CENTURY A.D.
7 in. (17.8 cm) high
£30,000-50,000
PROVENANCE:
French private collection. with Galerie Samarcande, Paris.
US$39,000-65,000
€36,000-60,000
Antiquities, Sotheby’s, London, 11 July 1988, lot 166. with Royal-Athena Galleries, New York, 1989 (Gods & Mortals, vol. I, no. 60).
John W. Kluge (1914-2010), Charlottesville, Virginia, acquired from the above, 1989. The Morven Collection of Ancient Art, Christie’s, New York, 8 June 2004, lot 505. with Royal-Athena Galleries, New York, acquired from the above. with Seaby Antiquities Gallery, London (advert in Minerva, November-December 2004).
with Royal-Athena Galleries, New York.
U.S. private collection, Miami, Florida, acquired from the above. with Royal-Athena Galleries, New York, acquired from the above, 2008 (Art of the Ancient World, vol. XX, 2009, no. 59).
Acquired by the current owner from the above, 2009.
38
EXHIBITED:
Museum of Fine Arts, Boston, From Olympus to the Underworld: Ancient Bronzes from the John W. Kluge Collection, 26 March-31 June 1996. Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA301).
LITERATURE:
C.C. Vermeule and J. M. Eisenberg, Catalogue of the Greek, Etruscan, and Roman Bronzes in the Collection of John Kluge, 1995, no. 89-50. J. Spier, “Roman Bronzes,” in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 135, fig. 14.
The goddess of love is depicted nude, reaching her right hand to her raised left foot. She is crowned with a crescentic diadem, and draped with a flowing mantle, once forming an arching canopy behind her head. Her wavy hair is centre-parted and pulled into a ponytail, with tendrils falling forwards over each shoulder.
For a similar depiction of Venus unbinding her sandal and framed in arching drapery, see the example from Rome, now in the British Museum, no. 186 in Schmidt, "Venus" in LIMC.
CIRCA LATE 1ST CENTURY B.C. - EARLY 1ST CENTURY A.D.
7¡ in. (18.8 cm.) high
£15,000-25,000
PROVENANCE:
US$20,000-32,000
€18,000-30,000
Kunstwerke der Antike, Auktion 56, Münzen & Medaillen AG, Basel, 19 February 1980, lot 156. with Dr. Leo Mildenberg (1913-2001), Zurich.
Private collection (R.G.), Calodyne, Mauritius, acquired from the above. with Royal-Athena Galleries, New York.
Acquired by the current owner from the above, 2009.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA325).
LITERATURE:
J. Spier, "Roman Bronzes," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 135, fig. 15.
The combination of the corkscrew locks, the drapery with its Isis knot, and the cornucopia (missing here) only came to be associated with depictions of the goddess Isis during the Roman Period. The imagery was first used for portraits of Ptolemaic queens; only late in the dynasty did the royal women come to be associated with the goddess (see S. Ashton, "Identifying the Egyptian-style Ptolemaic queens" in Walker and Higgs, Cleopatra of Egypt, p. 150). The crescentic diadem and the ship's rudder (also missing here) are found on Roman depictions of Fortuna. Such syncretistic images usually have the himation tied in an Isis knot positioned between the breasts. See for example the bronze in the Museo Nazionale, Naples, no. 180 in Rausa, "Tyche/Fortuna" in LIMC
CIRCA 1ST CENTURY A.D.
10Ω in. (26.8 cm.) high
£50,000-80,000
PROVENANCE:
Swiss private collection. Antiquities, Sotheby's, New York, 8 December 2000, lot 135. Antiquities, Bonhams, London, 28 April 2019, lot 134.
EXHIBITED: Musée d'Art Classique de Mougins, 2013-2022 (Inv. no. MMoCA542).
LITERATURE:
"Antiquities sales report," Minerva, September/October 2010, p. 48, fig. 3.
US$65,000-100,000
€60,000-96,000
J. Pollini, "Roman Marbles," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 85, fig. 23.
M. Merrony, Musée d’Art Classique de Mougins, Collection famille Levett, Mougins, 2012, pp. 55 and 85. C. Wrathall, "Collectors & Collections," Christie’s Magazine, January-February 2016, p. 52. M. Squire, "A Passionate Collector," Minerva, March/April 2018, p. 16, fig. 4.
Menander was a prominent Greek playwright of the New comedy period, born around 342 B.C. in Athens. He authored over 100 comedies, of which only fragments and one complete play, "Dysolos", have survived. Menander's works are characterized by their sophisticated plots, character-driven humour, and exploration of social themes such as love, family and human folly. His influence extended beyond Greece, significantly impacting Roman playwrights like Plautus and Terence. Menander's ability to capture the nuances of everyday life with wit and insight earned him a lasting legacy in the annals of theatrical history.
See G.M.A. Richter, Portraits of the Greeks, London, 1965, vol. II, pp. 224-236, figs 1514-1637 for a discussion of the portraits of Menander. This Roman copy is most likely after the original Greek bronze seated statue by Kephisodotos and Timarchos, the sons of Praxiteles, which according to Pausanias was set up after Menander's death in the Theatre of Dionysos at Athens, circa 292 B.C.
AN OVER LIFE-SIZED ROMAN MARBLE HEAD OF MINERVA CIRCA 1ST CENTURY A.D.
19Ω in. (49.5 cm.) high
£70,000-100,000
PROVENANCE:
US$91,000-130,000
€84,000-120,000
Anne Claude Philippe de Thubières, Comte de Caylus (1692-1765), acquired in Paris by 1752. Louis Antoine Crozat, Baron de Thiers (1699-1770), acquired from the above. with Galerie Ratton-Ladrière, Paris.
Archéologie, François de Ricqlès, Drouot-Richelieu, Paris, 29-30 September 1997, lot 565. with Aaron Gallery, London.
Acquired by the current owner from the above, 2009.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA451).
LITERATURE:
Comte de Caylus, Recueil d'antiquités égyptiennes, étrusques, grecques et romaines, vol. I, Paris, 1752, p. 121, pl. XLV, pl. I.
J. Pollini, "Roman Marble Sculpture," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, pp. 89, 96, fig. 42.
The over life-sized goddess is depicted wearing the Attic helmet, the crest at the top now partially missing, the head slightly turned to the left and looking up, with serene expression. The long curly hair is parted at the centre, with locks coming out from underneath the helmet at the sides.
The attribute of the helmet allows us to identify this head as a representation of Minerva, or Athena in the Greek pantheon, the warrior goddess. Minerva was widely worshipped by the Romans throughout the empire, and was celebrated in the calendar over five days during the Quinquatrus, between 19-23 March. Given her popularity, representations of the goddess were common in antiquity and some colossal examples, possibly placed in temples or in the forum, still survive, such as the monumental head in the Museo Archeologico Nazionale di Venezia, cf. G. Traversari, Sculture del V.- IV. sec. del Museo Archeologico di Venezia, 1973, p. 36, no. 12. For another example of Minerva wearing the crested helmet in the collection of the Musei Vaticani, Galleria Chiaramonti, see I. Altripp, Athenastatuen der Spätklassik und des Hellenismus, Cologne, 2010, p. 332, cat. no. VT I 2, pl. 56.
This head was originally attributed by Comte de Caylus to Alexander the Great, possibly due to the unruly 'leonine' hair often associated with the conqueror. For an example of the goddess Minerva depicted with similar shorter locks coming out at the sides of the head from underneath a Corinthian helmet see inv. no. C 72 at the Bardo National Museum, Tunis (Arachne Database number 1078940).
Anne Claude Comte de Caylus (1692–1765) was a French antiquarian, archaeologist, and art collector known for his influential contributions to the study of ancient art and history. Born into a noble family, he served in the French military before dedicating himself to scholarly pursuits. Caylus is best remembered for his monumental work 'Recueil d'antiquités égyptiennes, étrusques, grecques et romaines,' a detailed study of ancient artifacts, which helped shape the field of archaeology and antiquarianism in the 18th century. A member of the French Academy, Caylus was a talented etcher and also a patron of the arts, supporting various artists and engravers.
A ROMAN MARBLE PORTRAIT HEAD OF THE EMPEROR MARCUS AURELIUS
ANTONINE PERIOD, CIRCA 170-180 A.D.
17æ in. (45 cm.) high
£60,000-80,000
PROVENANCE:
US$78,000-100,000
€72,000-96,000
Piers von Westenholz, Much Hadham, East Hertfordshire, 1970s. with Peter Hinwood, London, acquired from the above, 1984. The Property of a Gentleman; Antiquities, Christie's, London, 7 November 2001, lot 328. with Oliver Forge and Brendan Lynch Ltd., London. Acquired by the current owner from the above, 2009.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA364).
LITERATURE:
L. Lovatt-Smith, London Living, London and New York, 1997.
J. Pollini, "Roman Marble Sculpture," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, pp. 11, 99, fig. 50.
M. Merrony, Musée d’Art Classique de Mougins: La collection famille Levett, Mougins, 2012, pp. 10, 59.
N. Nussbaum, "Un Ken d'Or pour le Musée d'Art Classique," Nice-Matin, 5 January 2013, p. 12.
"C'est quoi cette oeuvre?," Mougins Infos, February 2013.
"L'or pour le Musee d'art Classique de Mougins," Les étoiles de Mougins, January-March 2013, p. 8.
Egypte Ancienne, May-July 2013, p. 69.
France Today, June-July 2014, p. 63.
S. Davis, "Museum Watch: Mougins Classical Art Museum," France Today, December/January 2013-2014, p. 15.
N. Nussbaum, "L'art se met au vert avec Covoiture-Art," Nice-Matin, 14 June 2016, p. 9.
Force One, 2018, no. 18, p. 45.
"Museums and More in the Aples-Maritimes," France Today, April/May 2019, p. 44.
Marcus Aurelius, emperor from 161 to 180 A.D., is remembered as one of the great Stoic philosophers and the last of the 'Five Good Emperors'. Born in 121 A.D., he was trained in philosophy and governance from a young age, and his reign was marked by military challenges, including defending the empire from invasions by Germanic tribes. Despite these external pressures, Marcus Aurelius is best known for his philosophical work, Meditations, a series of personal reflections on duty, virtue, and self-discipline. His reign embodied the Stoic ideals of leadership, emphasizing wisdom, resilience, and justice.
The sculptural portraits of Marcus Aurelius reflect both his status as an emperor and a Stoic philosopher. Early portraits depict him with a youthful, idealized appearance, with a traditional clean-shaven face, which was common at the time. As his reign progressed, his later portraits show him with a fuller beard, symbolizing wisdom and philosophical depth, aligning with his Stoic beliefs, and with his facial features conveying a sense of introspection and seriousness. The present portrait corresponds to his fourth and final type - the Capitoline Imperatori 38 type, created late in his reign, between 170-180 A.D. For a detailed discussion of the different types see D. E. E. Kleiner, Roman Sculpture, Yale, 1992, pp. 270-273. For another example of the fourth type see fig. 237, op. cit.
A ROMAN MARBLE TRITON
CIRCA 2ND CENTURY A.D.
16º in. (41.5 cm.) high
£40,000-60,000
PROVENANCE:
US$52,000-78,000
€48,000-72,000
Gifted by Nicos Vernicos-Evgenides (1920-2000) to the Broström AB shipping company, Goteborg, Sweden, in 1965 on the occasion of their centennial anniversary.
Kvalitetsauktion, Göteborgs Auktionsverk, Göteborg, 23 May 2011, lot 318. with Rhéa Gallery, Zurich, acquired from the above.
Acquired by the current owner from the above, 2012.
EXHIBITED:
Musée d'Art Classique de Mougins, 2012-2023 (Inv. no. MMoCA791).
The sharp turn of the head, strained expression, open mouth, as well as a trace of fish scales on the right leg, suggest that this is a representation of a triton - a merman of the sea, half man, half fish, and attendant of the sea god Neptune. In Roman art they frequently appeared in sculpture, mosaics and frescoes, often as companions to Neptune or as part of elaborate marine scenes. For a large mosaic from the Baths of Neptune at Ostia, with a scene of the sea god and his entourage, see K.M.D. Dunbabin, Mosaics of the Greek and Roman World, Cambridge, 1999, p. 63, no. 62.
Depictions of tritons can either be youthful and clean shaven or older and bearded, both with thick curling hair. For an older, bearded triton in the Uffizi Museum, Florence, see inv. no. 282. For a similar body shape and twist, see M. Moltesen, Imperial Rome II, Ny Carlsberg Glyptotek, 1995, p. 302, no. 101. For examples of Triton and tritons in general, see N. Icard-Gianolio, 'Triton' and 'Tritones', in LIMC, vol. VIII, pp. 68-85.
■*24
A ROMAN MARBLE SARCOPHAGUS FRAGMENT
CIRCA EARLY 3RD CENTURY A.D.
22 in. (56 cm.) high
£40,000-60,000
PROVENANCE:
US$52,000-78,000
€48,000-72,000
German private collection, said to have been acquired prior to World War II; thence by descent.
The Property of a European Collector; Antiquities, Christie's, New York, 9 December 1999, lot 329.
U.S. art market, California, acquired from the above. Antiquities, Bonhams, London, 29 April 2009, lot 36.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA275).
LITERATURE:
J. Pollini, "Roman Marble Sculpture," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 110, fig. 79.
This fragment preserves the left corner of a sarcophagus. The frontal section is elaborately carved with a nude satyr facing right and leaning forward, pouring wine from a bucket toward a small Eros below. The satyr is depicted with his pointed ears protruding through his deeply drilled locks, wearing a mantle draped over his left shoulder, arm, and bent left leg, and his foot resting on a wine skin. The Eros is nude and facing left, looking up into the bucket. A hand is preserved to the right holding a theater mask aloft. The left side of the sarcophagus is carved in low relief with a horned lion-griffin. The subject matter suggests that this fragment was once part of a sarcophagus which would have been decorated with a large Dionysian scene. For a panel in the Vatican collection (inv. no. 951) with Ariadne surrounded by a retinue of maenads and satyrs, one pouring wine from a bucket to a waiting Erote and another holding a mask aloft, see Arachne Database no. 1124898.
A ROMAN MARBLE STELE
CIRCA LATE 2ND CENTURY A.D.
306 in. (78 cm.) high x 148 in. (38 cm.) wide
£15,000-25,000
PROVENANCE:
US$20,000-32,000
€18,000-30,000
Said to be from Ostia. with Pino Donati, Lugano, Switzerland, acquired 1958. with Charles Ede, London.
Acquired by the current owner from the above, 2010.
EXHIBITED: Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA494).
LITERATURE:
H. Dessau, ed., Corpus Inscriptionem Latinorum, vol. XIV, Berlin, 1887, p. 147, no. 1466. Epigraphic Database Roma no. 165506.
The front is carved with a bordered panel inscribed in bold capitals reading: D(is) M(anibus) Philotechno et (but written as 'FT') Feliciori fecit Aelia Eutychis, which translates as: "To the Shades of the Dead (and) to Philotechnus and Felicior, Aelia Eutychis did (this)". The dedicator’s name, Aelia, indicates that she or her father became a Roman citizen in the reign of Hadrian (117–38 A.D.) and that he was quite likely an imperial freedman. On the right side is carved an oinochoe and on the left a patera, references to the funerary rites and offerings.
A ROMAN LIMESTONE FIGURE OF ANTINOUS REIGN OF HADRIAN, CIRCA 130-138 A.D.
59 in. (150 cm.) high
£100,000-150,000
PROVENANCE:
US$130,000-190,000
€120,000-180,000
Monnaies; icones russes en bois; antiques; importantes sculptures en marbre; haute curiositè, haute èpoque, Mes. Laurin, Guilloux, Buffetaud, Tailleur, Drouot Rive Gauche, Paris, 27 March 1979, lot 73. Jacques Mougin, France, acquired 1985-1993. with Jean-David Cahn, Basel, acquired from the above, 2004. with Royal-Athena Galleries, New York, acquired from the above (Art of the Ancient World, vol. XVIII, 2007, no. 13).
Acquired by the current owner from the above, 2008.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA136).
LITERATURE:
"Antiquités: Cannes et Antibes tiennent salon…," Nice-Matin, 8 April 1979, p. 2. G. Porte, "La Biennale des antiquaires à Cannes," Le Monde, 13 April 1979. J. Pollini, "Roman Marble Sculpture," in M. Merrony ed., Mougins Museum of Classical Art, Mougins, 2011, p. 82, fig. 15.
Antinous was the young favorite of the Emperor Hadrian (76-138 A.D.). Ancient sources record that he was born near the provincial city of Bithynion (northwest Turkey) sometime after 110 A.D. In 130 A.D., while travelling in Egypt as part of Hadrian's entourage, Antinous drowned in the Nile, either the result of an accident, intrigue or suicide said to have been committed to counter a prophecy in order to save the Emperor’s life. In his honor, Hadrian founded Antinopolis, a new city on the east bank of the Nile. In addition, Antinous was posthumously venerated, in some places as a god, in others as a hero, throughout the empire, including at the Imperial Villa at Tivoli. His memory was honored in temples, festivals, games, poems and hymns. As in the case of this sculpture, most of the surviving portraits of Antinous must date to the eight years between his own death in 130 A.D. and that of Hadrian in 138 A.D. The large number of surviving statues, busts, reliefs, coins and gems depicting Antinous indicate the popularity of his cult as promoted by Hadrian (see pp. 11-16 in R.R.R. Smith and M. Melfi, Antinous, Boy Made God).
Often Antinous was depicted in the guise of a pre-existing Greco-Roman or Egyptian god, depending on where the image was created. He can be shown as Osiris, as in the example from the Antinoeion at Hadrian’s Villa, now in the Vatican Museums (fig. 156 in T. Opper, Hadrian, Empire and Conflict), as Dionysus, also in the Vatican (fig. 166 in Opper, op. cit.) and as the hunting and agricultural god Aristaios, now in the Louvre (fig. 168 in Opper, op. cit.). In this example, he is identified in the traditional guise of a hunter, wearing a chlamys over his shoulders pinned in place by a circular fibula. His left hand would have likely held a spear. His facial features, although damaged, display evidence of a rounded chin, full lips and thick hair arranged in luscious curls that cover his ears and fall along his neck.
A ROMAN MARBLE HEAD OF MERCURY
CIRCA LATE 2ND CENTURY A.D.
97 in. (25 cm.) high
£20,000-30,000
PROVENANCE:
US$26,000-39,000
€24,000-36,000
Wilhelm Collection, Berlin and Basel, acquired 1920s. Kunstwerke der Antike, Auktion 5, Jean-David Cahn AG, Basel, 23 September 2005, lot 240. with Royal-Athena Galleries, New York, acquired from the above (Art of the Ancient World, vol. XVII, 2006, no. 19).
Acquired by the current owner from the above, 2008.
EXHIBITED: Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA67).
LITERATURE:
J. Pollini, "Roman Marble Sculpture," in M. Merrony ed., Mougins Museum of Classical Art, Mougins, 2011, p. 101, fig. 67.
This Roman marble head of Mercury, or Hermes to the Greeks, embodies aspects of the work of earlier Greek 5th and 4th century B.C. sculptors. The fame of these illustrious Greek artists and their work was well-known by Roman sculptors of the Imperial period, particularly those in Greece and Asia Minor. These sculptors were adept at incorporating the Classical and Hellenistic styles and often integrated the hallmarks of these sculptural styles into one work.
In keeping with the style found among works of the classical Greek sculptor, Polykleitos, the god here is depicted with youthful and delicate features with short wavy locks of hair radiating from the crown in an arrangement of long and flat S-shaped locks. Although worn, the central locks over the low forehead are parted, and their ends curl to create a distinctive outline for the face. The Polykleitan style, as established by his famous 'Canon' or treatise on sculpture, remained widely influential for centuries, although later sculptors introduced their own variations, such as the 4th century B.C. sculptor, Lysippus. For a similar head of Hermes in the Palazzo Valentini, Rome, also embodying the Polykleitan style, cf. H. Beck, Polyklet: Der Bildhauer der griechischen Klassik, Mainz, 1990, p. 119, abb. 23 a.b.
A ROMAN MARBLE HEAD OF BACCHUS
CIRCA 1ST CENTURY A.D.
14¼ in. (36.2 cm.) high
£30,000-50,000
PROVENANCE:
US$39,000-65,000
€36,000-60,000
European private collection, acquired by 1998; thence by descent. Antiquities, Christie's, New York, 9 December 2008, lot 137. with Royal-Athena Galleries, New York.
Acquired by the current owner from the above, 2009.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA312).
LITERATURE:
J. Pollini, "Roman Marble Sculpture" in M. Merrony (ed.), Mougins Museum of Classical Art, France, 2011, p. 102, fig. 56.
The young god is depicted with a long oval face, his head turned to his right, the fleshy lips drilled at the corners, the bulging unarticulated eyes with thick lids, a horizontal crease across the forehead. The hair is carved in a mass of thick curls, encircled by a wreath of ivy leaves, the lobe of one ear emerging below.
For another example of Bacchus with a mass of curly hair tied at the top and falling over the neck see J. Raeder, Die statuarische Ausstattung der Villa Hadriana bei Tivoli, Frankfurt, 1983, no. I 73.
CIRCA 2ND-3RD CENTURY A.D.
17æ in. (45 cm.) high
£200,000-300,000
PROVENANCE:
US$260,000-390,000
€240,000-360,000
Said to have been discovered at Beth Shean, Israel. Somerset Struben de Chair (1911-1995), Chilham Castle, Kent and St. Osyth's Priory, Essex, acquired in Jerusalem, 1941; thence by descent to his son, Rodney de Chair (1935-2012), Chichester. Antiquities, Bonham's, London, 1 May 2008, lot 221.
EXHIBITED:
Chilham Castle, Kent, 1944-1948.
St Osyth's Priory, Essex, 1958-1995.
LITERATURE:
S. S. de Chair, Mind on the March, London, 1945, p. 28 (illustrated).
S. S. de Chair, Buried Pleasure, Devon, 1985, pp. 15-16.
S. S. de Chair, Morning Glory: Memoirs from the Edge of History, Devon, 1988, p. 169.
"Back to back", The Economist, 20 April 2008. Minerva, September/October 2008, p. 47.
Côte Magazine, September 2012, p. 125.
C. Levett, "Pieces of the classical past," Minerva Magazine, May/June 2011, p. 50.
J. Boardman, Museum Opening of the Year," Apollo Magazine, December 2011, pp. 59-60 (illustrated in-situ).
J. Pollini, "Roman Marble Sculpture," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, pp. 80-81, fig. 13.
"J'ai fait un rêve," Zibeline, May-June 2012, p. 60.
"Ancient Art," Grand Sud, no. 77, Autumn 2014, p. 88.
V. García- Osuna, "Clásico Actual eterno," Tendencias del Mercado del Arte, no. 69, 2014, p. 16.
Beaux Arts Magazine, August 2014, p. 114.
Beaux Arts Magazine, September 2014, p. 120.
F. Leclerc, "Mougins rend hommage à Sacha Sosno," Nice-Matin, 7 May 2014, p. 39. Force One Magazine, 2017, p. 38.
"Destinations: Toulon," Velocity, June 2014, p. 74.
"Musee d'art Classique de Mougins: Art antique, néoclassique, moderne & contemporain," SO Cannes, Summer 2017, p. 115.
"The MACM on the International Art Scene," Mougins: Côte d’Azur, no. 2, 2017-2018, p. 45, ill. back cover.
“Musée d'Art Classique de Mougins: Museum to go,” Zeit Riviera, January/February 2017, p. 23.
J. Osgood, "Enjoy the Experience of a Museum with Difference! MACM,” Ancient History, June/July 2020, p. 59.
S. Anderson Ladd, Goddesses of Self-Care: 30 Divine Feminine Archetypes to Guide You, USA, 2022, p. 30.
This over life-sized janiform herm is composed of the opposing heads of the god Bacchus and the Cretan princess Ariadne. Both are depicted with parted lips, a long straight nose and large eyes with drilled pupils and irises. Bacchus wears a fillet across the forehead which ties down his centrally-parted long wavy hair, and a wreath of ivy leaves with two bunches of berries over the forehead; vine leaves and bunches of grape hang behind the ears. Ariadne is depicted with softer, rounder features, her centrallyparted hair adorned with bunches of berries above the forehead and grapes above the shoulders.
As C.C. Mattusch notes (p. 179 in Pompeii and the Roman Villa: Art and Culture Around the Bay of Naples), herms served a variety of functions in antiquity. In the Greek world, herms (named after Hermes) were primarily apotropaic in nature, serving as protectors of travelers, cities and homes and were placed on street corners, doorways and other boundaries. In the Roman era – especially at sites like Pompeii – herms came to be adorned with portraits of poets, philosophers, statesman and other deities where they were used as decorative adjuncts in niches or mounted around pools and gardens. The term 'janiform' derives from the Roman divinity Janus, the god of doors and openings, who is usually depicted with two heads back to back. In this case the two characters depicted are a divine couple: in the myth of Bacchus (Dionysus in Greek mythology) and Ariadne, the daughter of King Minos of Crete, is abandoned by the hero Theseus on the island of Naxos after helping him escape the labyrinth. Heartbroken, she is discovered by Bacchus, the god of wine and revelry, who falls in love with her. Bacchus comforts Ariadne and later marries her, granting her immortality.
Herms representing Dionysus are a common type. The god’s association with nature, as well as relaxation and leisure, made him a fitting choice for garden ornamentation. A smaller but similar janiform herm of a young beardless Dionysus and Ariadne, with bunches of grapes adorning their hair is now in the collection of the Museo Gregoriano Profano in Rome, Inv.-Nr. 4600, see S. Seiler, Beobachtungen an Doppelhermen unter Ausschluß der Porträts, 1969, p. 117, no. 167 (Arachne database no. 1081640). For another example of a janiform herm representing an older bearded Bacchus and his spouse Ariadne see M. Borda, Monumenti archeologici tuscolani nel Castello di Agliè, Rome, 1943, p. 14, no. 7, pl. 12 (Arachne database no. 1060417).
Somerset Struben de Chair (1911–1995) was a British author, politician, and army officer. He served as a Member of Parliament for South West Norfolk from 1935 to 1945 and during World War II, he was an intelligence officer in the British Army, serving in the Middle East.
In his 1988 memoir, Morning Glory, de Chair recounts how he noticed the herm in the shop window of an antiques dealer called Ohan, opposite the King David Hotel, while posted in Jerusalem in 1940 (S. S. de Chair, Morning Glory: Memoirs from the Edge of History, Devon, 1988, p. 169). Shortly after finalising the purchase of the herm, de Chair left Jerusalem for another engagement in Syria near the ancient site of Palmyra where he was wounded on the 21 June 1941. After being evacuated back to Jerusalem to convalesce, de Chair managed to obtain the export license for the herm, which was transported to the Rockefeller Museum where a full-size plaster cast was taken before being shipped to England (S. S. de Chair, Buried Pleasure, Devon, 1985, pp. 15-16).
Somerset de Chair lived between 1944 and 1949 at Chilham Castle in Kent, where the herm was displayed in the main entrance hall. When the family left Chilham Castle the herm went in storage until 1954, when it was moved to the new home at St Osyth's Priory in Essex until de Chair's death in 1995.
Although the exact time of discovery and find-spot of the herm have not been recorded, de Chair writes in his memoirs that the sculpture had been found in the ancient site of Beth Shean, or Beit She'an, in northern Israel.
Beth Shean became a historically significant centre due to its strategic position connecting the Jordan River Valley and the Jezreel Valley. The site has been inhabited since the 5th millennium B.C., and over the centuries, it was controlled by Egyptians, Canaanites, Israelites, Greeks, and Romans. Under Roman rule, Beth Shean, known as Scythopolis, became a major city of the Decapolis, a league of ten Hellenistic cities on the eastern frontier of the Roman Empire, with impressive architecture, including a grand theater, bathhouses, and colonnaded streets.
The site was first excavated between 1921-1933, by C.S. Fisher, A. Rowe and G.M. FitzGerald from the University of Pennsylvania, and it is possible that this double herm was discovered after the excavations in the late 1930s.
The lot is accompanied by glass photographic plates made around 1940 in Jerusalem, which document the condition of the herm at the time of purchase.
A ROMAN MARBLE DIANA
CIRCA 1ST CENTURY B.C. - 1ST CENTURY A.D.
36º in. (92 cm.) high
£60,000-80,000
PROVENANCE:
Klaus Otto Preis (1936-2003), Paris.
US$78,000-100,000
€72,000-96,000
Collection Klaus Otto Preis, Sotheby's, Paris, 9 November 2005, lot 146. Canadian art market.
Antiquities, Christie's, London, 25 October 2007, lot 52.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA1).
LITERATURE:
J.L. Gaillemin, "I collezionisti: Il trionfo della vanita', Un'atmosfera decadente pervade gli ambienti di una dimora parigina," Architectural Digest (Edizione Italiana), no. 186, November 1996, p. 133.
J. Pollini, "Roman Marble Sculpture," in M. Merrony, (ed.), Mougins Museum of Classical Art, Mougins, 2011, p. 86, fig. 24.
The goddess is depicted here draped in a short diaphonous chiton tied under the breasts, a quiver strap passing across her breasts from her left shoulder, with the upper part of a collared hound nestling by her right knee. In Roman mythology, Diana was the goddess of the hunt, the moon, and nature, often associated with wild animals and woodland. She was the daughter of Jupiter and the twin sister of Apollo and was revered not only as a huntress but also as a protector of women, particularly in childbirth. Her attributes included the bow and arrow, her hunting dogs or a deer, as symbols of her hunting prowess, and the crescent moon, highlighting her lunar connection. As a virgin goddess, she was also associated with chastity and was often depicted as a youthful, athletic figure, embodying independence and strength.
For similar, cf. J. Reader, Die antiken Skulpturen in Petworth House, Mainz am Rhein, 2000, pp. 93-95, pl. 40,1-2, no. 24; Lexicon Iconographicum Mythologiae Classicae, II, Zurich and Munich, 1984, nos. 268, 277 and 361; and R. Schindler, Landesmuseum Trier: Führer durch die vorgeschichtliche und römische Abteilung, Trier, 1970, pl. 103.
A ROMAN MARBLE MERCURY
CIRCA 1ST-2ND CENTURY A.D.
35Ω in. (90 cm.) high
£70,000-100,000
PROVENANCE:
US$91,000-130,000
€84,000-120,000
German private collection, acquired by 1968. with The Merrin Gallery, New York, 1977 (Classical Art: Greek, Roman, Etruscan, p. 29).
Canadian Imperial Bank of Commerce Collection, acquired 1986. Antiquities, Christie's, New York, 8 June 2007, lot 180. with Ariadne Galleries, New York, acquired from the above. Acquired by the current owner from the above, 2011.
EXHIBITED:
Kunsthalle Köln, Weltkunst aus Privatbesitz, 18 May-4 August 1968.
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA789).
LITERATURE:
H. May, ed., Weltkunst aus Privatbesitz, Cologne, 1968, no. A72, pl. 26.
Mercury was the Roman god of commerce, communication, travel, the guide for souls to the underworld, and was often associated with speed and agility. He served as the messenger of the gods, connecting the divine with the mortal and was known for his cleverness and adaptability. He was often depicted with his attributes, as seen here, of winged sandals and petasos (a traveler's hat), symbolizing his swiftness.
The youthful messenger god stands in contrapposto, resting his weight on his right leg. He wears a chlamys draped around his neck and pinned on his shoulder with a large circular brooch, his petasos and the talaria (winged boots). The remains of his caduceus entwined with snakes is visible resting on his left shoulder. For a similar full figure of Mercury wearing the chlamys, see inv. no. SK 198 in the Antikensammlung Berlin (Arachne database no. 1121760). For several interpretations of the type, see the Ludovisi Hermes and related examples, nos. 915-925 in Siebert, "Hermes" in LIMC, vol. V and nos. 6a-20 in Simon, "Mercurius" in LIMC, vol. VI.
A ROMAN BRONZE AND SILVER VENUS
CIRCA 1ST CENTURY A.D.
7Ω in. (19 cm.) high
£10,000-15,000
PROVENANCE:
Aimé Péretié (1808-1882), Beirut.
US$13,000-19,000
€12,000-18,000
Louis de Clercq (1882-1901), Paris; thence by continuous descent to his grandnephew, Comte Henri de Boisgelin (1901-1967), Paris. with N. Koutoulakis (1910-1996), Paris and Geneva, acquired 1960s; thence by descent.
with Rupert Wace Ancient Art, London, acquired from the above, 2009. Acquired by the current owner from the above, 2010.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA509).
LITERATURE:
A. de Ridder, Collection De Clercq, vol. 3: Les bronzes, Paris, 1905, p. 84, no. 119, pl. XXV.
J. Spier, "Roman Bronzes," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 134, fig. 13.
"À la croisée des regards," Cote Magazine, September 2012, p. 125.
"J'ai fait un rêve...," Zibeline, May/June 2012, p. 60.
J. West, "A Museum in Picasso’s Final Playground on the Hillsides above the Cote d’Azur adds Culture to the Sunshine,” Scotsman Magazine, November 2012, p. 32.
"L'or pour le musée de l'art classique de Mougins," Mougins Infos, February 2013, p. 21.
"Christian Levett: 'Mougins a une histoire artistique,'” Nice-Matin, 30th April 2013, p. 11.
“Destinations: Toulon,” Velocity, June 2014, p. 74.
“Musée d'Art Classique de Mougins: Des siècles d'art à découvrir," BeauxArts Magazine, August 2014, p. 114 .
“Musée d'Art Classique de Mougins: Des siècles d'art à découvrir," BeauxArts Magazine, September 2014, p. 120 .
“Agenda: L’art est dans l’air," Grand Sud, October/November 2014, p. 84. State, 2014, no. 15, pp. 6 and 22.
“Musée d'Art Classique de Mougins: Museum to go,” Zeit Riviera, January/ February 2017, p. 23.
“Exhibitions: Ancient Art,” Grand Sud, Autumn 2014, p. 88.
Force One Magazine, no. 15, 2017, p. 38.
“The MACM on the International Art Scene,” Mougins: Côte d’Azur, June 2017, p. 43.
“Musée d'Art Classique de Mougins: Art antique, néoclassique, moderne & contemporain," SO Cannes, Summer 2017, p. 115.
Aimé Péretié (1808-1882), was a collector, antiquarian and also a dragoman and chancellor of the French Consulate in Beirut. From there he directed and sometimes personally assisted in archaeological excavations, sending off objects to auction in Paris, donating to the Louvre and selling to private collectors. Acquiring a whole range of classical antiquities, Péretié is known to have amassed a considerable collection of bronze Venuses, many of them ending up with one of his most important clients, named Louis de Clercq, as is the case with this example.
Aphrodite is depicted here holding out her right hand, which originally would have held a patera. In her left hand she holds an apple. Her head, turned to the right, gazes down slightly and is framed by centrallyparted hair caught up in a chignon at the nape of her neck and surmounted by a silver crescentic diadem.
In the myth of the Judgement of Paris, Aphrodite was one of three goddesses, along with Hera and Athena, who vied for the title of the fairest. This contest began when Eris, the goddess of discord, tossed a golden apple inscribed with "To the Fairest" among the gods at a wedding feast. The goddesses claimed the apple, and Zeus appointed Paris, a Trojan prince, to judge their beauty. Each goddess offered a bribe: Hera promised power, Athena offered wisdom and victory in battle, and Aphrodite tempted Paris with the love of Helen, the most beautiful mortal woman. Paris awarded the golden apple to Aphrodite, which led to him abducting Helen and igniting the Trojan War.
A ROMAN BRONZE ISIS-APHRODITE
CIRCA 2ND CENTURY A.D.
10 in. (25.4 cm.) high
£12,000-18,000
PROVENANCE:
with Spink & Son, London.
US$16,000-23,000
€15,000-22,000
Dr. Charles Sheard (1883-1963), Rochester, Minnesota, acquired from the above, 1937.
U.S. art market, Chicago.
Antiquities, Christie's, New York, 9 December 2008, lot 135.
Antiquities, Sotheby's, New York, 8 December 2011, lot 19.
EXHIBITED:
Musée d'Art Classique de Mougins, 2012-2023 (Inv. no. MMoCA784).
The goddess is depicted standing on a spool-shaped base with her weight on the left leg and wearing a diaphanous chiton buttoned along the sleeve and leaving her left shoulder bare. A himation is draped around the lower part of her body, held in her right hand, and falling in long cascading folds down to her feet. Her centrally parted wavy hair is surmounted by the vulture headdress and a crown of uraei supporting the horned sun disc and feathers flanked by ears of grain. For a similar figure of Isis-Aphrodite but with different headdress see the bronze in the Louvre inv. no. MND 2331.
Isis-Aphrodite is a syncretic figure that combines elements of both the Egyptian goddess Isis and the Greek goddess Aphrodite. In the Hellenistic period, as Greek and Egyptian cultures blended, some deities were merged to reflect shared characteristics. Isis, a goddess of motherhood, magic, and fertility, was associated with Aphrodite, the goddess of love, beauty, and desire. This fusion emphasized their shared powers over life, fertility, and the human condition, particularly in areas of love and protection. Temples and cults honoring this combined deity could be found across the Mediterranean world.
A ROMAN MARBLE PORTRAIT BUST OF THE EMPEROR CARACALLA
SEVERAN PERIOD, CIRCA 212-217 A.D.
19¬ in. (50 cm.) high
£70,000-100,000
US$91,000-130,000
€84,000-120,000
PROVENANCE: with Dennis & Leen, Los Angeles, 1976. with Chaucer Fine Arts, London, acquired from the above, 1977 (Rome a Vision of Antiquity, 1980, no. 53). Antiquities, Bonhams, London, 19 January 2010, lot 1.
EXHIBITED: Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA488).
LITERATURE:
Minerva, September/October 2009 (advertisement).
J. Pollini, "Roman Marble Sculpture," in M. Merrony, ed., Mougins Museum of Classical Art, Mougins, 2011, p. 103, fig. 62.
M. Merrony, "Birth of a museum," Minerva, March/April 2011, fig. 3.
V. Bougault, "L'antiquité au goût du jour," Connaissance des Arts, 2012, p. 115 (illustrated in-situ). "C'est quoi cette oeuvre?,'" Mougins Infos, December 2020/January 2021, p. 28.
Caracalla, born Lucius Septimius Bassianus in 188 A.D. in Lugdunum (modern day Lyon), was Roman emperor from 211 to 217 A.D. He was the son of Emperor Septimius Severus and Julia Domna. He co-ruled with his father from 198 and later with his brother Geta after Severus' death in 211. However, he had Geta murdered in the same year to become sole ruler. A damnatio memoriae was issued to destroy all images of Geta, perhaps best illustrated on the so-called Severan Tondo portrait in Berlin, where the face of Geta has been methodically erased while those of Caracalla and his parents remain (see fig. 284 in D.E.E. Kleiner, Roman Sculpture).
The reign of Caracalla was turbulent but marked by a number of governmental reforms. Most notably, his Edict of 212, the Constitutio Antoniniana, bestowed Roman citizenship onto all free men living within the boundaries of the Roman Empire. Cassius Dio (Roman History, book 78) remarks that while the edict nominally honored those living outside of Rome, its true intent was to increase the number of taxable individuals. In the military sphere, Caracalla sought to emulate the conquests of his hero, Alexander the Great, and embarked on campaigns to Germany and the east. Prior to a war with the Parthians in 217, however, he was assassinated by Macrinus, a Praetorian prefect who then briefly served as Emperor before the Severan dynasty was reestablished by Elagabalus in 218.
This bust is of the 'Sole-Ruler' type, dating to the period after he murdered his brother and coemperor Geta. Here he is depicted with a stern and intense expression, with deeply furrowed brows, a short, cropped beard, and a muscular physique, reflecting his strength and authority. These portraits, portraying a 'rough soldier' image, break from the idealized representations of earlier emperors, which depicted the emperor as a god-like being, instead emphasizing his power and ruthlessness and aligning with his reputation for cruelty. Another example of the 'Sole-Ruler' type can be found in the Musei Capitolini, Centrale Montemartini, inv. no. 2310.
CIRCA LATE 3RD-EARLY 4TH CENTURY A.D.
81Ω in. (207 cm.) long
£70,000-100,000
PROVENANCE:
with T. Fujita, Tokyo.
US$91,000-130,000
€84,000-120,000
Japanese private collection, acquired from the above, 1970s.
Property from a Private Collection; Antiquities, Christie's, New York, 4 June 2008, lot 277.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA22).
LITERATURE:
E. Simon, "Römische Sarkophage in Japan" in Archäologischen Anzeiger, 1982, pp. 586ff.
E. Simon, The Kurashiki Ninagawa Museum, Greek, Etruscan and Roman Antiquities, Mainz, 1982, pp. 267-269, no. 178.
"Spring Antiquities Sales," Minerva, September/October 2008, p. 42.
J. Pollini, "Roman Marble Sculpture," in M. Merrony, ed., Mougins Museum of ClassicalArt, Mougins, 2011, p. 109, fig. 75.
"Quoi de neuf au Macm de Mougins," Mougins Infos, no. 79, p. 29.
Preserving the front panel and parts of each side, this elaborate sarcophagus is decorated on the front with a central garland framing a draped bust of Semne, supported by two winged Cupids. Semne, the deceased, is depicted frontally, her hair centrally parted, wearing a stola and a palla, of which she holds the hem in her right hand. The garland is formed from apples, pinecones and poppies, and is crowned by a large blossom at the top. The Cupids holding the garland are
depicted nude, their wings raised and their heads turned out. Below each Cupid appear respectively an overturned fruit-filled urn, a snarling panther and a bow and quiver, a tree stump to the left supporting a bow and another to the right supporting a quiver. A winged Cupid stands at each corner, nude but for a diagonally-draped mantle, each holding a garland. Each side panel is decorated with a griffin in low relief. An inscription in Greek epigram runs across the top and bottom borders, but likely beginning on the now-missing lid, reading, [With my death I have left behind for my beloved parents], along the top, "as a compensation for their mourning and tears, my brother Semnos and the longed-for double offspring of my body. You want to know my name and that of my sweet parents," and along the bottom, "As daughter of [?] and of Trophimos, I, Semne, was born, just and honorable. Now my body denies me its service, but my mouth still knows how to speak as it did during my life".
According to Simon, (pp. 268-269 in The Kurashiki Ninagawa Museum, Greek, Etruscan and Roman Antiquities), "As in many tomb epigrams the deceased addresses the reader and gives her name and that of her parents. The epigram is the 'mouth' with which she speaks, while her body has become 'useless', as it reads literally. In the first part, on the upper border, she names the three people who are to help her parents to get over the premature death of their daughter: the brother Semnos and the pair of twins she had given birth to (in her words: 'the double offspring of the birth from my pelvis'). It is not said how old these twins are and it is possible that the young woman died soon after their birth. The thrice repeated quiver-and-bow motif on the frieze indicates the act of Artemis, the goddess of birth and death, who 'with gentle arrows' laid women low (cf. Homer, Odyssey 11, 173 and passim).
The language of the epigram proves that Semne's family knew very well the Homeric conception of Artemis."
•*36
A ROMAN MARBLE SARCOPHAGUS FRAGMENT OF A FALLEN DEER
CIRCA 2ND CENTURY A.D.
25 in. (63.5 cm.) long
£10,000-15,000
PROVENANCE:
Wendell Cherry (1935-1991), Louisville.
Mark Lansburgh (d. 2013), Santa Fe, acquired by 1977. U.S. private collection, San Diego. with Royal-Athena Galleries, New York. Acquired by the current owner from the above, 2011.
EXHIBITED:
US$13,000-19,000
€12,000-18,000
Santa Barbara Museum of Art, 2000 Years of Sculpture from the Classical Age to the Baroque: Collection of Mark Lansburgh, 1977. Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA769).
Possibly a fragment from a sarcophagus with a hunting scene, it depicts the body of a fallen deer, lying prone with tongue hanging out. The remains of a large paw with claws visible on the right edge, would suggest a lion hunt. The body seems to have a spear shaft emerging from its front quarters. For hunt sarcophagi with animals lying along of the lower border, see J. S. Østergaard, Imperial Rome, Ny Carlsberg Glyptotek, 1996, pp. 67-69 and 71-73, nos 29 and 30. For a sarcophagus panel in the Capitoline Museum, Rome (inv. no. 837) with a fallen deer with spear emerging from it's body see Arachne database no. 18435.
CIRCA 1ST-2ND CENTURY A.D.
5¿ in. (13 cm.) high
£15,000-25,000
PROVENANCE:
French private collection.
US$20,000-32,000
€18,000-30,000
Collection Ch. N...Antiquités grecques et byzantines, Hôtel Drouot, Paris, 23 June 1905, lot 248.
Objets d'art, Antiquities egyptiens, grecs et romains, Mes. F. Lair-Dubreuil and Henri Baudoin, Hôtel Drouot, Paris, 11-12 December 1922, lot 163.
Swiss private collection, acquired circa 1950. with Oliver Forge and Brendan Lynch, London. Acquired by the current owner from the above, 2011.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA780).
Musée d'Art Classique de Mougins, Animals, 26 February-19 June 2016.
LITERATURE:
S. Reinach, Répertoire de la statuaire grecque et romaine, vol. IV, Paris, 1913, p. 482, no. 2.
C. Dauphin, Animals in the Ancient World: The Levett Bestiary, Mougins, 2014, pp. 50, 103, ill. front cover.
C. Dauphin, Les animaux dans le monde antique: Le bestiaire Levett, Mougins, 2016, p. 42, fig. 34, p. 92. "L'exposition des animaux et des hommes à Mougins," Nice-Matin, 6 March 2016, p. 18.
E. Nussbaum, "Le bestiaire de l'antiquitè s'affiche au MACM," Nice-Matin, 9 March 2016, p. 12.
The cult of the Apis bull, the sacred animal of Memphis, was still worshipped by the Romans up until the 4th Century A.D., and was linked to the broader fascination with Egyptian religion, particularly the cult of Isis, which gained popularity across the empire. Roman followers of the Apis cult participated in rituals that honoured the bull as an intermediary between the gods and humans, blending Egyptian traditions with Roman religious practices.
This more lively example of the animal, with curling tail, raised right foreleg and the turn of the head, together with traces of a headdress that would have fitted between the horns, are all adaptions from the more static Egyptian original type. For a similar bull see M. Comstock & C. Vermeule, Greek Etruscan and Roman Bronzes, Boston, 1971, p. 143-144, no. 169. For a similar bull in The British Museum, with a highstepping foreleg, see inv. no. 1757,0815.29.
A ROMAN AGATE CAMEO WITH A DOG
CIRCA 1ST CENTURY A.D.; SET IN A 19TH CENTURY BROOCH
Cameo: æ in. (1.8 cm.) wide
£30,000-50,000
PROVENANCE:
US$39,000-65,000
€36,000-60,000
George Spencer, 4th Duke of Marlborough (1739-1817), Blenheim Palace, Oxfordshire; thence by continuous descent to John Winston SpencerChurchill, 7th Duke of Marlborough (1822-1883), Blenheim Palace, Oxfordshire.
The Marlborough Gems: Being a Collection of Works in Cameo and Intaglio Formed by George, Third Duke of Marlborough, Christie's, London, 28 June-1 July 1875, lot 710.
David Bromilow (1809-1898), Bitteswell Hall, Leicestershire, acquired from the above; thence by descent to his daughter, Julia Harriet Mary Jary, Bitteswell Hall, Leicestershire.
The Marlborough Gems: A Collection of Works in Cameo and Intaglio
Formed by George, Third Duke of Marlborough, Purchased by the Late David Bromilow, Esq., of Bitteswell Hall, Lutterworth, the Property of Mrs. Jary, Christie's, London, 26-29 June 1899, lot 710.
Grant Duff, acquired from the above (according to auctioneer's book).
Jane Davies (1877-1972), London; thence by descent to her greatgranddaughter, Sara Crisp. Antiquities, Bonhams, London, 28 October 2009, lot 323. with David Ghezelbash Archeologie, Paris, acquired from the above (Archeologie, 2010, no. 20).
Acquired by the current owner from the above, 2011.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA692).
LITERATURE:
N. Story-Maskelyne, The Marlborough Gems: Being a Collection of Works in Cameo and Intaglio Formed by George, Third Duke of Marlborough, London, 1870, p. 115, no. 710.
J. Boardman, et al., The Marlborough Gems, Formerly at Blenheim Palace, Oxfordshire, London, 2009, p. 234, no. 528.
C. Dauphin, Animals in the Ancient World: The Levett Bestiary, Mougins, 2014, p. 99.
C. Dauphin, Les Animaux dans le Monde Antique: Le Bestiaire Levett, Mougins, 2016, p. 87.
The oval stone depicting a resting or sleeping dog, likely a Molossian hound, is carved from agate, with two distinctive layers of cream above translucent brown, which Story-Maskelyne (op. cit. p.115) had erroneously thought to be 'glass imitating onyx'. For a similar cameo, cf. nos. 185-6 in U. Gehrig, ed., Tierbilder aus vier Jahrtausenden, Antiken der Sammlung Mildenberg, Mainz am Rhein, 1983. Although the symbolic meaning behind the depiction of the dog is unknown, perhaps it refers to the loyalty of the animals as well as their courage and reliability. The mid-19th Century gold mount depicts an encircling snake or Ouroboros, biting its tail, representing eternity, with eyes inset with diamonds.
This cameo has a long illustrious ownership history. It belonged to George Spencer, 4th Duke of Marlborough (1738-1817), whose collection of gems and cameos was arguably the largest and finest ever assembled. It remained at Blenheim Palace, the seat of the Dukes of Marlborough, until 1875, when the entire collection of gems was first sold at Christie’s en masse to David Bromilow. The collection remained intact until his daughter sold the gems, again at Christie’s, in 1899.
A ROMAN SAPPHIRE RINGSTONE WITH ODYSSEUS
CIRCA 1ST CENTURY B.C. - 1ST CENTURY A.D.; SET IN A 19TH CENTURY RING
Ω in. (1.3 cm.) long
£10,000-15,000
US$13,000-19,000
€12,000-18,000
PROVENANCE: with K.J. Hewett (1919-1994), London. with Michael Ward, New York, acquired from the above, 1982. Swiss private collection, acquired from the above. U.S. private collection. with Ward & Company, New York, acquired from the above, 2011. Acquired by the current owner from the above, 2011.
EXHIBITED:
Musée d'Art Classique de Mougins, 2011-2023 (Inv. no. MMoCA674).
LITERATURE:
J. Spier, "Roman Jewellery" in M. Merrony, ed., Mougins Museum of Classical Art, France, 2011, p. 158, fig. 15.
The convex oval sapphire is engraved with a profile head of a bearded man wearing the pilos cap, representing the hero Odysseus. The legendary Greek hero was best known as the protagonist of homer's epic, the Odyssey. He was the King of Ithaca, renowned for his intelligence, cunning, and resourcefulness, traits that earnt him the favour of the gods - particularly Athena. He played a crucial role in the Trojan War, devising the idea of the Trojan Horse, which leads to the Greek victory. His journey home after the war was filled with trials, monsters and divine challenges, and spanned ten years, testing his endurance, loyalty and leadership. Throughout his adventures, Odysseus embodied the qualities of a classic epic hero, navigating both physical and moral landscapes to return to his family and reclaim his kingdom.
Sapphires in Roman times were much admired for their colour - from a very light to a rich deep blue. With increased trade via India it is likely that most Roman sapphires came from Sri Lanka or possibly Bactria. More commonly used as either beads or plain ring stones, engraved sapphire intaglios are much rarer. For a late Roman sapphire engraved with a female head see J. Boardman & C. Wagner, Masterpieces in Miniature, London, 2018, no. 144. For two more sapphire intaglios see acc. nos 42.115 and 42.1008, in The Walters Art Museum, Baltimore.
Tuesday 26 November at 1:00pm (GMT) – Tuesday 10 December 2024 at 1.00 pm (GMT)
8 King Street, St. James’s London SW1Y 6QT
Saturday 30 November 12.00 pm - 5.00 pm
Sunday 1 December 12.00 pm - 5.00 pm
Monday 2 December 9.00 pm - 8.00 pm
Tuesday 3 December 9.00 am - 5.00 pm
Wednesday 4 December 9.00 am - 5.00 pm
Thursday 5 December 9.00 am - 5.00 pm
Friday 6 December 9.00 am - 5.00 pm
Saturday 7 December 12.00 pm - 5.00 pm
Sunday 8 December 12.00 pm - 5.00 pm
Monday 9 December 9.00 am - 8.00 pm
Tuesday 10 December 9.00 am - 5.00 pm
In sending absentee bids or making enquiries, this sale should be referred to as MOUGINS-22758
The sale of each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out in this catalogue and on christies.com. Please note that the symbols and cataloguing for some lots may change before the auction.
For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com.
In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol.
Check Section D of the Conditions of Sale at the back of this catalogue.
Please note that all lots denoted with a red dot • will be offered with no reserve.
Chanel Beaumont Co-Head of Sale, Specialist, Antiquities
and Contemporary
Olivia Wilson Co-Head of Sale, Cataloguer and Sale Coordinator, Private & Iconic Collection
Associate Specialist, Sculpture, Classic Art
Claudio Corsi Specialist Head of Department, Antiquities
Clementine Sinclair Head of Department, Old Master Paintings
& Manuscripts
Elizabeth Comba Specialist, Private & Iconic Collections
Venetia Jolly Cataloguer & Sale Coordinator, Private & Iconic Collections
Clementine Swallow Cataloguer & Sale Coordinator, Private & Iconic Collections
SALE COORDINATOR
Olivia Wilson
owilson@christies.com
Tel: +44 (0) 207 752 3383
REGIONAL MANAGING DIRECTOR
Mergherita Panara
mpanara@christies.com
+44 (0) 207 752 3075
For general enquiries about this auction, emails should be addressed to Olivia Wilson
• *101
AN EGYPTIAN LIMESTONE RELIEF FRAGMENT
FIRST INTERMEDIATE PERIOD, CIRCA 2180-2040 B.C.
19¬ in. (49.8 cm.) high
£5,000-7,000
US$6,500-9,100
€6,000-8,400
• *102
FRANK MASON GOOD (1839-1928)
Pyramid and Sphinx, Egypt
image: 5√ x 7æ in. (15 x 19.7 cm.)
£800-1,200
Four Pyramids and Sun
29¡ x 43ºin. (74.5 x 110cm.)
£40,000-60,000
US$1,100-1,600
€960-1,400
US$52,000-78,000
€48,000-72,000
• *104
AN EGYPTIAN LIMESTONE RELIEF FRAGMENT
MIDDLE KINGDOM, 11TH-12TH DYNASTY, CIRCA 2046-1793 B.C.
16æ in. (42.5 cm.) wide
£6,000-8,000
US$7,800-10,000
€7,200-9,600
λ *105
JEAN COCTEAU (1889-1963)
Deux têtes de Licorne
28Ω x 36º in. (72.5 x 92 cm.)
£10,000-15,000
US$13,000-19,000
€12,000-18,000
• *107
AN EGYPTIAN GOLD-INLAID BRONZE SEKHMET AND PROTECTIVE VULTURE
LATE PERIOD, 26TH DYNASTY, CIRCA 664-525 B.C.
4æ in. (12cm.) high
£7,000-9,000
US$9,100-12,000
€8,400-11,000
• θ106
CARTER, HOWARD (1874-1939) AND A.C. MACE (18741928)
The Tomb of Tut-Ankh-Amen. London: 1923-1927-1933.
£1,000-1,500
US$1,300-1,900
€1,200-1,800
JEAN COCTEAU (1889-1963)
Grand Sphinx
25Ω x 19æ in. (64.7 x 50 cm.)
£6,000-8,000
US$7,800-10,000
€7,200-9,600
Portrait of Hatshepsut's Grandmother, Queen Seniseneb
16æ x 12º in. (42.6 x 31 cm.)
£15,000-25,000
US$20,000-32,000
€18,000-30,000
• *110
AN EGYPTIAN LIMESTONE ROUND-TOPPED STELE
SECOND INTERMEDIATE PERIOD, 13TH DYNASTY, CIRCA 1786-1663 B.C.
14º in. (36.2 cm.) high
£4,000-6,000
The Greater Temple of Ramesses II at Abu Simbel, Egypt
26 x 16√ in. (66 x 43 cm.)
£4,000-6,000
US$5,200-7,800
€4,800-7,200
US$5,200-7,800
€4,800-7,200
• *112
AN EGYPTIAN GOLD NECKLACE WITH MEDALLION OF MEDUSA
ROMAN PERIOD, CIRCA 3RD CENTURY A.D.
medallion: 2Ω in. (6.4 cm.) diam.
£10,000-15,000
US$13,000-19,000
€12,000-18,000
• *113
ROBERT MAPPLETHORPE (1946-1989)
Sphinx, 1988
image: 17æ x 17æ in. (45 x 45 cm.)
sheet/flush mount: 25¬ x 25¬ in. (65 x 65 cm.)
£6,000-8,000
• *115
GIORGIO SOMMER (1834-1914)
Basilica, Pompei
image: 10√ x 14√ in. (27.6 x 37.8 in.)
£500-800
US$7,800-10,000
€7,200-9,600
• *114
AN ETRUSCAN BRONZE THYMIATERION
CIRCA 4TH CENTURY B.C.
32æ in. (83.1 cm.) high
£5,000-8,000
US$6,500-10,000
€6,000-9,600
US$650-1,000
€600-960
• *116
A ROMAN BRONZE ATTACHMENT WITH A LION PROTOME
CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.
5 in. (12.7 cm.) long
£3,000-5,000
US$3,900-6,500
€3,600-6,000
λ *117
MARIO SIRONI (1885-1961)
Composizione (Arcaica)
15 x 20 in. (38 x 50.8 cm.)
£12,000-18,000
US$16,000-23,000
€15,000-22,000
λ *118
SALVADOR DALÍ (1904-1989)
Cinq (5) de coupe, arcane mineur, projet pour le jeu de carte 'Le Tarot
Universel de Salvador Dalí'
12¿ x 9¡ in. (30.6 x 23.7 cm.)
£25,000-35,000
US$33,000-45,000
€30,000-42,000
• *119
A PHRYGIAN TERRACOTTA BUST OF A GODDESS
CIRCA 5TH-4TH CENTURY B.C.
10 in. (25.5 cm.) high
£3,000-5,000
US$3,900-6,500
€3,600-6,000
• *120
ALEXANDER MIHAYLOVICH (B. 1958)
Window
24º x 16¿ x 1¬ in. (61.5 x 41 x 4 cm.)
£2,000-3,000
US$2,600-3,900
€2,400-3,600
88 In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.
SALVADOR DALÍ (1904-1989)
Dix (10) d'épée, arcane mineur, projet pour le jeu de carte 'Le Tarot Universel de Salvador Dalí'
12¿ x 9¡ (30.8 x 23.7 cm.)
• *123 A GREEK BRONZE BALSAMARIUM
HELLENISTIC PERIOD, CIRCA 2ND-1ST CENTURY B.C.
35 in. (9 cm.) high
£4,000-6,000
US$5,200-7,800
£25,000-35,000
€4,800-7,200 λ *121
US$33,000-45,000
€30,000-42,000
• *122
A ROMAN RED-SLIP WARE DISH
NORTH AFRICA, CIRCA 4TH-5TH CENTURY A.D.
108 in. (27.7 cm.) diam.
£1,500-2,500
US$2,000-3,200
€1,800-3,000
λ *124
SALVADOR DALÍ (1904-1989)
Huit (8) de baton, arcane mineur, projet pour le jeu de carte 'Le Tarot Universel de Salvador Dalí'
12 x 9¡ in. (30.6 x 23.7 cm.)
£25,000-35,000
US$33,000-45,000
€30,000-42,000
• *125
FRENCH SCHOOL, CIRCA 1800
Antique Sarcophagus
12¿ x 13 in. (30.7 x 33 cm.)
£4,000-6,000
US$5,200-7,800
■• *126
A ROMAN MARBLE CINERARIUM LID
CIRCA 1ST-2ND CENTURY A.D.
251 in. (63.6 cm.) wide
£5,000-8,000
Five Plates from Vasi
Plate 387 x 279 mm. (and smaller)
£800-1,200
€4,800-7,200 • *128
US$6,500-10,000
€6,000-9,600
US$1,100-1,600
€960-1,400
A ROMAN MARBLE CINERARY URN
CIRCA 1ST CENTURY A.D.
13Ω x 12º x 10æ in (34.3 x 31.1 x 27.3 cm.)
£10,000-15,000
US$13,000-19,000
€12,000-18,000
• *129
A PARTHIAN SILVER-GILT PHALERA WITH A MEDUSA HEAD
IRAN, HELLENISTIC PERIOD, CIRCA 2ND CENTURY B.C.
66 in. (17 cm.) diam.
£5,000-7,000
US$6,500-9,100
• *131
A ROMAN AGATE CAMEO OF MEDUSA
CIRCA 2ND CENTURY A.D.
1¿ in. (2.7 cm.) high
£3,000-5,000
€6,000-8,400 • *132
A PAIR OF GREEK GOLD THEATER MASK PENDANTS
HELLENISTIC PERIOD, CIRCA 3RD-1ST CENTURY B.C.
Each .¾ in. (1.9 cm.) long
£2,000-3,000
US$2,600-3,900
US$3,900-6,500
€3,600-6,000
GIORGIO SOMMER (1834-1914)
Anfiteatro, Pompei
image: 10¬ x 14æ in. (26.3 x 37.5 cm.)
£500-800
€600-960 • *130
€2,400-3,600
US$650-1,000
• *133
A ROMAN MARBLE HEAD OF A SATYR
CIRCA 2ND CENTURY A.D.
12º in. (31 cm.) high
£10,000-15,000
US$13,000-19,000
€12,000-18,000
λ *134 ARMAN (1928-2005)
Untitled
49º x 29¿ x 19¬ in. (125 x 74 x 50 cm.)
£30,000-40,000
US$39,000-52,000
€36,000-48,000
• *135
A PARTHIAN TERRACOTTA MUSICIAN
IRAN, CIRCA 2ND CENTURY B.C.-2ND CENTURY A.D.
8º in. (21 cm.) high
£3,000-5,000
US$3,900-6,500
€3,600-6,000
• *136
A ROMAN MARBLE RELIEF FRAGMENT WITH EROTES AND PANS
CIRCA 2ND CENTURY A.D.
20 in. (50.8 cm.) high
£7,000-10,000
US$9,100-13,000
€8,400-12,000
• *137
A ROMAN BLUE GLASS AMPHORISKOS
CIRCA 1ST CENTURY A.D.
41 in. (10.4 cm.) high
£2,000-3,000
• *139
GIORGIO SOMMER (1834-1914)
Stralla della Tombe, (Pompei), Street of Tombs
image: 10√ x 14¬ in. (27.8 x 37.2 cm.)
£500-800
US$2,600-3,900
€2,400-3,600
• *138
GIORGIO SOMMER (1834-1914)
Panorama, Pompei
image: 10√ x 14æ in. (27.6 x 37.5 cm.)
£500-800
• *140
A ROMAN BLUE GLASS BOTTLE
CIRCA 1ST-2ND CENTURY A.D.
US$650-1,000
€600-960
US$650-1,000
€600-960
5¿ in. (13 cm.) high
£1,500-2,500
US$2,000-3,200
€1,800-3,000
• *141
A ROMAN BRONZE BALSAMARIUM IN THE FORM OF ANTINOUS
CIRCA MID-2ND CENTURY A.D.
6æ in. (17.2 cm.) high
£10,000-15,000
• *143
A ROMAN BRONZE OIL LAMP
CIRCA 1ST CENTURY A.D.
3æ in. (9.5 cm.) long
£4,000-6,000
US$13,000-19,000
€12,000-18,000
*142
PROBABLY ATTRIBUTABLE TO EUGENIO AVOLIO (CIRCA 1876-1929)
The young Hercules
8Ω in. (21.5 cm.) high; 11 in. (28 cm.) high, overall
£15,000-25,000
US$5,200-7,800
€4,800-7,200
• *144
A GREEK BRONZE HERAKLES ROUNDEL
HELLENISTIC PERIOD, CIRCA LATE 2ND CENTURY B.C.
6¿ in. (15.5 cm.) diam.
£5,000-8,000
US$20,000-32,000
€18,000-30,000
US$6,500-10,000
€6,000-9,600
• *145
A ROMANO-CELTIC BRONZE HORSE
CIRCA 2ND-3RD CENTURY A.D.
3 in. (7.5 cm.) long
£4,000-6,000
US$5,200-7,800
€4,800-7,200
NIC FIDDIAN-GREEN (B. 1963)
Trojan Horse
10√ in. (27.2 cm.) high, excluding wooden plinth
£8,000-12,000
• *147
Ganymede with Jupiter's Eagle, 1988 image: 19¼ x 19⅜ in. (49 x 49.2 cm.) sheet/flush mount: 23⅞ x 20 in. (61 x 50.8 cm.)
£6,000-8,000
US$11,000-16,000
€9,600-14,000
US$7,800-10,000
€7,200-9,600
• *148
TWO GREEK TERRACOTTA FIGURES OF ZEUS AND GANYMEDE
HELLENISTIC PERIOD, CIRCA 2ND CENTURY B.C.
Each 14¼ in. (36.2 cm.) high
£8,000-12,000
€9,600-14,000 λ• *146
96
US$11,000-16,000
*149
HORST P. HORST (1906-1999)
Houdon Still Life, 1937
image: 12 x 9¿ in. (30.6 x 23 cm.)
sheet: 13√ x 11 in. (35.2 x 28 cm.)
£3,000-5,000
• *151
AN ETRUSCAN FRAGMENTARY ALABASTER CINERARY URN
CIRCA 2ND CENTURY B.C.
19 in. (48.2 cm.) wide
US$3,900-6,500
£8,000-12,000
€9,600-14,000 λ
€3,600-6,000
US$11,000-16,000
• *150
AN ETRUSCAN BRONZE THYMIATERION
CIRCA LATE 5TH-4TH CENTURY B.C.
182 in. (46.2 cm.) high
£8,000-12,000
US$11,000-16,000
€9,600-14,000
• *152
JAMES ANDERSON (1813-1877)
A period print of a bronze statue of Marcus Aurelius, Piazza del Campidoglio, Rome
image: 16 x 12¿ in. (40.6 x 30.8 cm.)
£1,000-1,500
US$1,300-1,900
€1,200-1,800
λ *153 DAMIEN HIRST (B. 1965)
Happy Head with Base
10 x 9 x 10¬ in. (25.4 x 23 x 27 cm.)
£20,000-30,000
US$26,000-39,000
€24,000-36,000
A ROMAN BRONZE STEELYARD WEIGHT IN THE FORM OF A BUST OF ROMA
CIRCA 3RD CENTURY A.D.
5æ in. (14.5 cm.) high
£3,000-5,000
A ROMAN MARBLE HEAD OF A BEARDED BARBARIAN
CIRCA 3RD CENTURY A.D.
10æ in. (27.3 cm.) high
US$3,900-6,500
€3,600-6,000
*156
SIR CHRISTOPHER LE BRUN PPRA (B. 1951)
Twilight (Winged Helmet)
11¡ in. (28.9 cm.) high
£3,000-5,000
€3,600-6,000 • *154
£5,000-7,000
US$3,900-6,500
US$6,500-9,100
€6,000-8,400
• *157
A GREEK BRONZE PILOS HELMET
MAGNA GRAECIA, LATE CLASSICAL TO HELLENISTIC PERIOD, CIRCA
400-200 B.C.
11Ω in. (29.2 cm.) high
£8,000-12,000
• *159
A ROMAN MARBLE HEAD OF A BARBARIAN
LATE 2ND-EARLY 3RD CENTURY A.D.
3Ω in. (9 cm.) high
£2,000-3,000
US$11,000-16,000
€9,600-14,000
• *158
A GREEK PARCEL GILT SILVER BOWL
HELLENISTIC PERIOD, CIRCA 2ND-1ST CENTURY B.C.
9 in. (22.8 cm.) diam.
£5,000-8,000
US$6,500-10,000
€6,000-9,600
US$2,600-3,900
€2,400-3,600
• θ160
HAMILTON, SIR WILLIAM (1730-1803) AND PIERRE FRANÇOIS HUGUES, BARON D'HANCARVILLE (1719-1805).
A Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of The Hon. William Hamilton. Naples: 1766.
£5,000-8,000
US$6,500-10,000
€6,000-9,600
• *161
AN ITALIC BRONZE MONTEFORTINO HELMET
CIRCA 300-200 B.C.
7º in. (18.4 cm.) high.
£8,000-12,000
US$11,000-16,000
€9,600-14,000
Helmet
9¿ in. (23.2 cm.) high
£2,000-3,000
US$2,600-3,900
€2,400-3,600
• *162
A GREEK BRONZE GREAVE
CLASSICAL PERIOD, CIRCA 6TH-4TH CENTURY B.C.
14º in. (36.2 cm.) long
£4,000-6,000
US$5,200-7,800
€4,800-7,200
• *164
A GREEK BRONZE CORINTHIAN HELMET FRAGMENT
ARCHAIC TO EARLY CLASSICAL PERIOD, CIRCA 550-500 B.C.
9 in. (23 cm.) wide
£5,000-8,000
US$6,500-10,000
€6,000-9,600
• *165
MAN RAY (1890-1976)
Metal Helmet
image: 8√ x 6√ in. (22.5 x 17.5 cm.)
sheet: 15 x 12¡ in. (38 x 31.5 cm.)
£3,000-5,000
US$3,900-6,500
€3,600-6,000
• *167
ADEMOLLO (MILAN 1764-1849 FLORENCE)
The Death of Germanicus
17æ x 27Ω in. (45.2 x 69.7 cm.)
£7,000-10,000
• *166
LUIGI ADEMOLLO (MILAN 1764-1849 FLORENCE)
'Gli ostaggi cartaginesi' (The Embarkation of the Carthaginian Hostages led by Marcus Attilius Regulus)
37æ x 49º in. (96 x 125 cm.)
£7,000-10,000
102 In
US$9,100-13,000
€8,400-12,000
• *168
A PAIR OF ITALIC BRONZE GREAVES
CIRCA 5TH-4TH CENTURY B.C.
93 in. (23.7 cm.) high max.
£4,000-6,000
US$9,100-13,000
€8,400-12,000
US$5,200-7,800
€4,800-7,200
λ• *169
PABLO PICASSO (1881-1973)
Minotaure mourant, from: La Suite Vollard
Plate 191 x 266 mm.
Sheet 338 x 440 mm.
£6,000-8,000
• *170
A ROMAN BRONZE GOAT
CIRCA 2ND CENTURY A.D.
4¡ in. (11.1 cm.) long
£3,000-5,000
λ• *171
SIR CHRISTOPHER LE BRUN, P.P.R.A. (B. 1951)
Untitled Horse and Wing 8æ in. (22.3 cm.) high
£3,000-5,000
US$7,800-10,000
€7,200-9,600
US$3,900-6,500
€3,600-6,000
US$3,900-6,500
€3,600-6,000
λ *172
MICHAEL AYRTON (1921-1975)
Restless Minotaur 11 in. (28 cm.) high
£12,000-18,000
US$16,000-23,000
€15,000-22,000
• *173
ROY LICHTENSTEIN (1923-1997)
Temple
Image 588 x 433 mm.
Sheet 600 x 448 mm.
£7,000-10,000
US$9,100-13,000
€8,400-12,000
CHARLES-FRANÇOIS GRENIER DE LACROIX, CALLED LACROIX DE MARSEILLE (MARSEILLES C.1700-1782 BERLIN)
A capriccio with ancient monuments in Nîmes, including the Maison Carrée, the Arena and Obelisk d’Arles
28⅝ x 42 in. (72.8 x 106.7 cm.)
£15,000-20,000
• *174
ATTRIBUTED TO CHARLES CORNELISZ. DE HOOCH (THE HAGUE C.1577-1638 UTRECHT)
A capriccio view of roman ruins including the Temple of Castor and Pollux, the Arch of Janus and the Temple of Minerva, with shepherds and cowherds tending their flocks
21 x 29Ω in. (53.4 x 74.5 cm.)
£5,000-8,000
US$20,000-26,000
€18,000-24,000
• *176
JAMES ANDERSON (1813-1877)
Roman Forum image: 6√ x 9 ¡ in. (17.7 x 23.7 cm.)
£1,000-1,500
US$6,500-10,000
€6,000-9,600
US$1,300-1,900
€1,200-1,800
ARMAN (1928-2005)
Lucius Verus III
extended: 39æ x 40Ω x 24æ in. (101 x 103 x 63 cm.)
folded: 39æ x 20º x 16√ in. (101 x 51.5 x 43 cm.)
• *179
A SAMNITE TRILOBATE CUIRASS
CIRCA 4TH CENTURY B.C.
Each 11º in. (28.5 cm.) high
£5,000-8,000
US$6,500-10,000
£20,000-30,000
€6,000-9,600 λ *177
US$26,000-39,000
€24,000-36,000
• *178
A GREEK BRONZE PILOS HELMET
MAGNA GRAECIA, LATE CLASSICAL TO HELLENISTIC PERIOD, CIRCA
400-200 B.C.
11º in. (28.5 cm.) high
£7,000-9,000
US$9,100-12,000
€8,400-11,000
• *180
WORKSHOP OF JACQUES I LAUDIN
Twelve portraits of Roman Emperors in profile
Each 2º x 3 in. (7.5 x 5.5 cm.)
£8,000-12,000
US$11,000-16,000
€9,600-14,000
106 In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.
• *181
A GREEK BRONZE ARTEMIS
HELLENISTIC PERIOD, CIRCA 2ND-1ST CENTURY B.C.
55 in. (14.2 cm.) high
£7,000-10,000
US$9,100-13,000
€8,400-12,000
• *182
VICTOR ÉTIENNE SIMYAN (1826-1886)
L'Art Étrusque (Allegory of Etruscan Art)
21Ω in. (54.5 cm.) high; 22Ω in. (57 cm.) wide
£2,000-3,000
US$2,600-3,900
€2,400-3,600
• *183
A GREEK BRONZE RECUMBENT GOAT
HELLENISTIC PERIOD, CIRCA 2ND CENTURY B.C.
3¬ in. (9.1 cm.) long
£4,000-6,000
US$5,200-7,800
€4,800-7,200
• *184
A ROMAN BRONZE TREFOIL OINOCHOE
CIRCA 1ST CENTURY A.D.
12Ω in. (32 cm.) high
£4,000-6,000
US$5,200-7,800
€4,800-7,200
• *185
A ROMAN GREEN GLASS FLASK
CIRCA 5TH-6TH CENTURY A.D.
12Ω in. (32 cm.) high
£2,500-3,500
US$3,300-4,500
€3,000-4,200
• *187
A ROMAN OLIVE GREEN GLASS DISH
CIRCA 4TH-5TH CENTURY A.D.
12º in. (31 cm.) diam.
£2,000-3,000
• *186
A GALLO-ROMAN TERRA SIGILLATA BOWL
CIRCA 1ST CENTURY A.D.
88 in. (22.7 cm.) diam.
£3,000-4,000
US$3,900-5,200
€3,600-4,800
US$2,600-3,900
€2,400-3,600
• *188
A ROMAN GREEN GLASS FLASK
CIRCA 3RD CENTURY A.D.
7Ω in. (19 cm.) high
£1,000-1,500
US$1,300-1,900
€1,200-1,800
108 In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.
λ• *189
SACHA SOSNO (1937-2013)
Le bon guetteur (The Good Watchman)
24 x 14¿ x 10 in. (61 x 36 x 25.5 cm.)
£7,000-10,000
US$9,100-13,000
€8,400-12,000
*191
GIORGIO SOMMER (1834 - 1914)
Temple of Neptune, Paestum
image: 10¡ x 14æ in. (26.3 x 37.5 cm.)
£500-800
• *190
FRANK MASON GOOD (1839-1928)
Erechtheum, Athens
image: 5√ x 8 in. (14.9 x 20.3 cm.)
£600-800
US$780-1,000
€720-960
US$650-1,000
€600-960
MARC QUINN (B. 1964)
Bill Waltier (Blind from Birth)
20√ x 9¬ x 8√ in. (53 x 24.5 x 22.5 cm.)
£15,000-20,000
US$20,000-26,000
€18,000-24,000
• *193
A ROMAN BRONZE OIL LAMP
CIRCA 3RD CENTURY A.D.
7æ in. (19.7 cm.) long.
£3,000-5,000
US$3,900-6,500
€3,600-6,000
• *194
A ROMAN BRONZE LION HEAD PROTOME
CIRCA 1ST CENTURY A.D.
7Ω in. (19 cm.) wide
£4,000-6,000
• *195
A ROMAN BRONZE SHEEP
CIRCA 3RD-4TH CENTURY A.D.
3 in. (7.6 cm.) long
£3,000-5,000
US$5,200-7,800
€4,800-7,200
US$3,900-6,500
€3,600-6,000
• *196
A ROMAN BRONZE MOUSE
CIRCA 1ST-2ND CENTURY A.D.
1æ in. (4 cm.) long
£2,000-3,000
US$2,600-3,900
€2,400-3,600
• *197
A GREEK BRONZE SEATED MONKEY
LATE ARCHAIC PERIOD, CIRCA 550-500 B.C.
1æ in. (4.4 cm.) high
£4,000-6,000
US$5,200-7,800
€4,800-7,200
• *198
A VILLANOVAN BRONZE SHIELD BOSS
CIRCA 8TH CENTURY B.C.
9¬ in. (24.5 cm.) diam.
£2,500-3,500
• *199
AN ETRUSCAN BRONZE VOTIVE SHIELD
CIRCA 500 B.C.
11º in. (28.5 cm.) diam.
£3,000-5,000
US$3,300-4,500
€3,000-4,200
US$3,900-6,500
€3,600-6,000
• *200
A SAMNITE BRONZE BELT
CIRCA 4TH CENTURY B.C.
4æ in. (12 cm.) high; 41 in. (104 cm.) long max.
£3,000-5,000
US$3,900-6,500
€3,600-6,000
• *201 LALIQUE
Venus
4 in. (10.2 cm.) high
£150-250
US$200-320
Mercury entrusting the infant Bacchus to the nymphs
16 x 23¿ in. (40.5 x 58.5 cm.)
£8,000-12,000
Sculpteur et Modèle admirant une Tête sculptée, from: La Suite Vollard
Plate 265 x 190 mm.
Sheet 443 x 338 mm.
€180-300 •
US$11,000-16,000
€9,600-14,000
£8,000-12,000
US$11,000-16,000
€9,600-14,000
Statue d'un Satyre tenant une grappe de raisin, haute de sept pieds: with 13 other plates of statues, busts and ornamental friezes from the gardens of Versailles
Plate 420 x 318 mm. (and smaller)
£600-800
€720-960 •
US$780-1,000
• *205
A GREEK BRONZE PILOS HELMET
MAGNA GRAECIA, LATE CLASSICAL TO HELLENISTIC PERIOD, CIRCA
400-200 B.C.
9Ω in. (24 cm.) high
£7,000-9,000
• *207
A PAIR OF ITALIC BRONZE ANKLE-GUARDS
CIRCA 5TH-4TH CENTURY B.C.
10¡ in. (26.4 cm.) high max.
£4,000-6,000
US$9,100-12,000
€8,400-11,000
*206
CHARLES-FRANÇOIS GRENIER DE LACROIX, CALLED LACROIX DE MARSEILLE
(MARSEILLES C.1700-1782 BERLIN)
A capriccio with ancient monuments, including the Triumphal Arch of Orange, the aqueduct of Fréjus and the Mauseoleum of Glanum, Saint-Rémy-de-Provence
28º x 41æ in. (71.7 x 106 cm.)
£15,000-20,000
US$5,200-7,800
€4,800-7,200
• *208
BARTOLOMEO PINELLI (ROME 1771-1835)
Cleombrotus ordered into banishment by Leonidas II, King of Sparta
28 x 40¿ in. (71 x 102 cm.)
£6,000-8,000
US$20,000-26,000
€18,000-24,000
US$7,800-10,000
€7,200-9,600
• *209
LORENZO ROCCHEGGIANI (ACTIVE 1788-1817)
Seventeen Plates, with fourteen other plates
Image 195 x 290 mm. (each)
£1,000-1,500
US$1,300-1,900
€1,200-1,800
• *210 A ROMAN REPOUSSÉ BRONZE BREASTPLATE FRAGMENT
CIRCA LATE 2ND-3RD CENTURY A.D.
4√ in. (12.5 cm.) long
£800-1,200
• *211
AN ETRUSCAN BRONZE HELMET OF NEGAU TYPE
CIRCA 5TH CENTURY B.C.
7æ in. (19.7 cm.) high.
£5,000-7,000
US$1,100-1,600 €960-1,400
US$6,500-9,100
€6,000-8,400
• *212
AN ELECTROTYPE COPY OF THE RIBCHESTER
HELMET: A ROMAN SPORTS AND CAVALRY HELMET WITH THREE ENGRAVINGS BY JAMES BASIRE THE YOUNGER (1769-1822)
Helmet: 10º in. (26 cm.) high
Engravings: 520 x 340 mm. (each)
£2,000-3,000
US$2,600-3,900
€2,400-3,600
114 In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.
• *213
The Laocoon
6æ in. (17 cm.) high; 9Ω in (24 cm.) high, overall
£7,000-10,000
US$9,100-13,000
€8,400-12,000
• *214
Sculpture Gallery, The Vatican image: 15æ x 11√ in. (40 x 30.2 cm.)
£500-1,000
• *215
A ROMAN MARBLE FUNERARY PLAQUE
CIRCA 1ST CENTURY A.D.
9æ in. (24.8 cm.) high
£3,000-5,000
US$650-1,300
€600-1,200
US$3,900-6,500
€3,600-6,000
• *216
Seneca
9 in. (23 cm.) high; 11æ in. (30 cm.) high, overall
£4,000-6,000
US$5,200-7,800
€4,800-7,200
• *217
GIORGIO SOMMER (1834-1914)
Forno, Pompei
image: 11 x 14√ in. (27.9 x 37.8 in.)
£500-800
US$650-1,000
€600-960
• *219
GIORGIO SOMMER (1834-1914)
Strada di Stabbia, Pompei image: 11 x 14√ in. (27.9 x 37.8 cm.)
£500-800
• *218
GIORGIO SOMMER (1834-1914)
Tempio di Venere (Pompei), The Temple of Venus image: 11.2/8 x 14√ in. (28.5 x 37.5 cm.)
£500-800
US$650-1,000
€600-960
US$650-1,000
€600-960
• *220
GIORGIO SOMMER (1834-1914)
Foro Civile, Pompei image: 10æ x 14æ in. (27.3 x 37.5 cm.)
£500-800
US$650-1,000
€600-960
• *221
GIORGIO SOMMER (1834-1914)
Panorama Foro Rivile, Pompei
image: 10æ x 14Ω in. (27.3 x 36.8 cm.)
£500-800
US$650-1,000
€600-960
• *222
GIORGIO SOMMER (1834-1914)
Tempio d'Iside, Pompei
image: 11 x 14æ in. (27.9 x 37.8 cm.)
£500-800
• *223
GIORGIO SOMMER (1834 -1914)
Casa di Diomede, Pompei, (Doimede's House)
image: 10æ x 14√ in. (27.3 x 37.8 cm.)
£500-800
US$650-1,000
€600-960
US$650-1,000
€600-960
• *224
JOHANN ERDMANN GOTTLIEB PRESTEL (1739-1808), AFTER ALESSANDRO MORETTI
Ruines du Théâtre de Paestum En Lucanie, Chute D’eau
Image 475 x 640 mm.
£1,000-1,500
US$1,300-1,900
€1,200-1,800
• *225
A ROMAN PALE GREEN MOULD-BLOWN GLASS SPRINKLER FLASK
CIRCA 3TH-4TH CENTURY A.D.
27 in. (7.1 cm.) high
£1,000-1,500
• *227
A ROMAN GREEN GLASS JAR CIRCA 4TH-5TH CENTURY A.D.
22 in. (5.6 cm.) high
£1,000-1,500
US$1,300-1,900
€1,200-1,800
US$1,300-1,900
€1,200-1,800
• *226
AN ITALIC BRONZE BELT
CIRCA 4TH CENTURY B.C.
31 in. (79 cm.) long
£4,000-6,000
US$5,200-7,800
€4,800-7,200
• *228
A SAMNITE BRONZE BELT
CIRCA 4TH CENTURY B.C.
39¡ in. (100 cm.) long
£2,000-3,000
US$2,600-3,900
€2,400-3,600
• *229
ATTRIBUTED TO ARTUS QUELLINUS THE YOUNGER (SINT-TRUIDEN 1625-1700 ANTWERP)
Design for a statue of the Virgin and Child, standing on a corbel, and a coatof-arms (recto); Fragment of architectural studies (verso)
15¿ x 5¡ in. (38.3 x 13.6 cm)
£2,000-3,000
US$2,600-3,900
€2,400-3,600
• *230 JEAN JACQUES PRADIER (1790-1852)
Sapho à la colonne (Sappho at the column)
18 in. (45.7 cm.) high
£3,000-5,000
US$3,900-6,500
€3,600-6,000
• θ231
Epitome thesauri antiquitatum. Lyon: 1553.
£400-600
US$520-780
€480-720
•
The Vatican Library, Rome image: 15¬ x 11√ in. (39.7 x 30.2 cm.)
£500-1,000
•
A young general, possibly Alexander, showing clemency to two prisoners
7√ x 10æ in. (20.1 x 27.5 cm.)
£2,000-3,000
US$2,600-3,900
€2,400-3,600
END OF SALE
US$650-1,300
€600-1,200
CONDITIONS OF SALE
These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold. As well as these Conditions of Sale, lots in which we offer Non-Fungible Tokens for sale are governed by the Additional Conditions of Sale – Non-Fungible Tokens, which can be found at Appendix A to these Conditions of Sale. For the sale of Non-Fungible Tokens, to the extent there is a conflict between the “London Conditions of Sale Buying at Christie's” and “Additional Conditions of Sale – NonFungible Tokens”, the latter controls.
Unless we own a lot ( symbol), Christie’s acts as agent for the seller. This means that we are providing services to the seller to help them sell their lot and that Christie’s is concluding the contract for the sale of the lot on behalf of the seller. When Christie’s is the agent of the seller, the contract of sale which is created by any successful bid by you for a lot will be directly between you and the seller, and not between you and Christie’s.
A BEFORE THE SALE
1 DESCRIPTION OF LOTS
(a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed ‘Important Notices and Explanation of Cataloguing Practice’ which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called ‘Symbols Used in this Catalogue’.
(b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.
2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS
We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition Lots are sold ‘as is’, in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller.
(b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason they are not an alternative to examining a lot in person or taking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.
4 VIEWING LOTS PRE-AUCTION
(a) If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition We recommend you get your own advice from a restorer or other professional adviser.
(b) Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at pre-auction viewings or by appointment.
5 ESTIMATES
Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.
6 WITHDRAWAL
Christie’s may, at its option, withdraw any lot at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time.
(b) It will not be apparent to us whether a diamond is naturally or synthetically formed unless it has been tested by a gemmological laboratory. Where the diamond has been tested, a gemmological report will be available.
(c) All types of gemstones may have been improved by some method. You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report.
(d) Certain weights in the catalogue description are provided for guidance purposes only as they have been estimated through measurement and, as such, should not be relied upon as exact.
(e) We do not obtain a gemmological report for every gemstone sold in our auctions. Where we do get gemmological reports from
internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. We do not guarantee nor are we responsible for any report or certificate from a gemmological laboratory that may accompany a lot
(f) For jewellery sales, estimates are based on the information in any gemmological report or, if no report is available, assume that the gemstones may have been treated or enhanced.
8 WATCHES & CLOCKS
(a) Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch or clock is authentic Watchbands described as ‘associated’ are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys.
(b) As collectors’ watches and clocks often have very fine and complex mechanisms, a general service, change of battery or further repair work may be necessary, for which you are responsible. We do not give a warranty that any watch or clock is in good working order. Certificates are not available unless described in the catalogue.
(c) Most watches have been opened to find out the type and quality of movement. For that reason, watches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use. Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(g).
B REGISTERING TO BID
1 NEW BIDDERS
(a) If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following:
(i) for individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement).
(ii) for corporate clients: Your Certificate of Incorporation or equivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and (iii) for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements.
(b) We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Credit Department on +44 (0)20 7839 9060.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above, a financial reference or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms in the last two years or if you want to spend more than on previous occasions, please contact our Credit Department on +44 (0)20 7839 9060.
3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS
If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.
4 BIDDING ON BEHALF OF ANOTHER PERSON
(a) As authorised bidder. If you are bidding on behalf of another person who will pay Christie’s directly, that person will need to complete the registration requirements above before you can bid, and supply a signed letter authorising you to bid for him/her.
(b) As agent for a principal: If you register in your own name but are acting as agent for someone else (the “ultimate buyer(s)”) who will put you in funds before you pay us, you accept personal liability to pay the purchase price and all other sums due. We will require you to disclose the identity of the ultimate buyer(s) and may require you to provide documents to verify their identity in accordance with paragraph E3(b).
5 BIDDING IN PERSON
If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. You may register online at www.christies.com or in person. For help, please contact the Credit Department on +44 (0)20 7839 9060.
6 BIDDING SERVICES
The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.
(a) Phone Bids
Your request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale.
(b) Internet Bids on Christie’s LIVE™
For certain auctions we will accept bids over the Internet. For more information, please visit www.christies.com/register-and-bid
As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ Terms of Use which are available at www.christies.com/christies-live-terms
(c) Written Bids
You can find a Written Bid Form at any Christie’s office or by choosing the sale and viewing the lots online at www.christies.com. We must receive your completed Written Bid at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot, we will sell the lot to the bidder whose written bid we received first.
C CONDUCTING THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate, unless the lot is subject to a third party guarantee and the irrevocable bid exceeds the printed low estimate. In that case, the reserve will be set at the amount of the irrevocable bid. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦
3 AUCTIONEER’S DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid; (b move the bidding backwards or forwards in any way he or she may decide, or change the order of the lots; (c) withdraw any lot; (d) divide any lot or combine any two or more lots;
(e) reopen or continue the bidding even after the hammer has fallen; and (f) in the case of error or dispute related to bidding and whether during or after the auction, to continue the bidding, determine the successful bidder, cancel the sale of the lot or reoffer and resell any lot If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith. If the auctioneer, in the exercise of his or her discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot, he or she will notify the successful bidder no later than by the end of the 7th calendar day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie’s ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in section B(3), E(2)(i), F(4) and J(1).
4 BIDDING
The auctioneer accepts bids from: (a) bidders in the saleroom; (b) telephone bidders, and internet bidders through ‘Christie’s LIVE™ (as shown above in Section B6); and (c) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve If lots are offered without reserve, the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at his or her sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at his or her sole option where the bidding should start and the bid increments
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVE™) may show bids in some other major currencies as well as sterling. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by post and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.
9 LOCAL BIDDING LAWS
You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site.
D THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY
1 THE BUYER’S PREMIUM
In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 26% of the hammer price up to and including £800,000, 21% on that part of the hammer price over £800,000 and up to and including £4,500,000, and 15.0% of that part of the hammer price above £4,500,000. VAT will be added to the buyer’s premium and is payable by you. For lots offered under the VAT Margin Scheme or Temporary Admission VAT rules, the VAT may not be shown separately on our invoice because of tax laws. You may be eligible to have a VAT refund in certain circumstances if the lot is exported. Please see the “VAT refunds: what can I reclaim?” section of ‘VAT Symbols and Explanation’ for further information.
2 TAXES
The successful bidder is responsible for all applicable tax including any VAT, GST, sales or compensating use tax or equivalent tax wherever such taxes may arise on the hammer price and the buyer’s premium. VAT charges and refunds depend on the particular circumstances of the buyer. It is the buyer’s responsibility to ascertain and pay all taxes due. VAT is payable on the buyer’s premium and, for some lots, VAT is payable on the hammer price. Following the departure of the UK from the EU (Brexit), UK VAT and Customs rules will apply only.
For lots Christie’s ships or delivers to the United States, sales or use tax may be due on the hammer price, buyer’s premium and/or any other charges related to the lot, regardless of the nationality or citizenship of the purchaser. Christie’s will collect sales tax where legally required. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or delivered. Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot. For shipments/ deliveries to those states for which Christie’s is not required to collect sales tax, a successful bidder may be required to remit use tax to that state’s taxing authorities. Christie’s recommends you obtain your own independent tax advice with further questions.
For lots Christie’s ships or delivers to Jersey (Channel Islands), GST at a rate of 5% will be due on the hammer price, buyer’s premium, freight charges (as set out on your Shipping Quote Acceptance Form) and any applicable customs duty. Christie’s will collect GST from you, where legally required to do so.
For lots purchased by a successful bidder with a registered address in India and who has bid via Christie’s LIVE™, an Indian Equalisation Levy Tax at a rate of 2% will be due on the hammer price and buyer’s premium (exclusive of any applicable VAT). Christie’s will collect the Indian Equalisation Levy Tax from you, where required to do so.
3 ARTIST’S RESALE ROYALTY
In certain countries, local laws entitle the artist or the artist’s estate to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with the λ symbol next to the lot number. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will pay the royalty to the appropriate authority on the seller’s behalf.
The artist’s resale royalty applies if the hammer price of the lot is 1,000 GBP or more if located in the United Kingdom at the time of sale. The total royalty for any lot cannot be more than 12,500 GBP. We work out the amount owed as follows:
Royalty for the portion of the hammer price (in Pound Sterling)
4% up to 50,000
3% between 50,000.01 and 200,000
1% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000 over 500,000, the lower of 0.25% and 12,500 GBP.
E WARRANTIES
1 SELLER’S WARRANTIES
For each lot, the seller gives a warranty that the seller:
(a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so in law; and
(b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else.
If one or more of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the lots in our sales are authentic (our ‘authenticity warranty’). If, within five years of the date of the auction, you give notice to us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows:
(a) It will be honoured for claims notified within a period of five years from the date of the auction. After such time, we will not be obligated to honour the authenticity warranty
(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the ‘Heading’). It does not apply to any information other than in the Heading even if shown in UPPERCASE type.
(c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. For example, use of the term ‘ATTRIBUTED TO…’ in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and
a lot’s full catalogue description before bidding.
(d) The authenticity warranty applies to the Heading as amended by any Saleroom notice
(e) The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the sale or drew attention to any conflict of opinion.
(f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot
(g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else.
(h) In order to claim under the authenticity warranty, you must:
(i) give us written notice of your claim within five years of the date of the auction. We may require full details and supporting evidence of any such claim;
(ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and
(iii)return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.
(i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, in any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses.
(j) Books. Where the lot is a book, we give an additional warranty for 14 days from the date of the sale that if on collation any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms:
(i) This additional warranty does not apply to:
a. the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration;
b. drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals;
c. books not identified by title;
d. lots sold without a printed estimate;
e. books which are described in the catalogue as sold not subject to return; or
f. defects stated in any condition report or announced at the time of sale.
(ii) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 14 days of the date of the sale.
(k) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting.
In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms of Christie’s authenticity warranty, provided that the original buyer notifies us with full supporting evidence documenting the forgery claim within twelve (12) months of the date of the auction. Such evidence must be satisfactory to us that the lot is a forgery in accordance with paragraph E2(h)(ii) above and the lot must be returned to us in accordance with E2h(iii) above. Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories.
(l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery).
In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “SubHeading”). Accordingly, all references to the Heading in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the SubHeading
3 YOUR WARRANTIES
(a) You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes.
(b) Where you are bidding as agent on behalf of any ultimate buyer(s) who will put you in funds before you pay Christie’s for the lot(s), you warrant that:
(i) you have conducted appropriate customer due diligence on the ultimate buyer(s) and have complied with all applicable anti-money laundering, counter terrorist financing and sanctions laws;
(ii) you will disclose to us the identity of the ultimate buyer(s) (including any officers and beneficial owner(s) of the ultimate buyer(s) and any persons acting on its behalf) and on our request, provide documents to verify their identity;
(iii)the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes;
(iv)you do not know, and have no reason to suspect that the ultimate buyer(s) (or its officers, beneficial owners or any persons acting on its behalf) are on a sanctions list, are under investigation for, charged with or convicted of money laundering, terrorist activities or other crimes, or that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion; and
(v) where you are a regulated person who is supervised for anti-money laundering purposes under the laws of the EEA or another jurisdiction with requirements equivalent to the EU 4th Money Laundering Directive, and we do not request documents to verify the ultimate buyer’s identity at the time of registration, you consent to us relying on your due diligence on the ultimate buyer, and will retain their identification and verification documents for a period of not less than 5 years from the date of the transaction. You will make such
documentation available for immediate inspection on our request.
F PAYMENT 1 HOW TO PAY
(a) Immediately following the auction, you must pay the purchase price being:
(i) the hammer price; and
(ii) the buyer’s premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or service tax or VAT. Payment is due no later than by the end of the seventh calendar day following the date of the auction, or no later than 24 hours after we issue you with an invoice in the case of payment made in cryptocurrency, as the case may be (the ‘due date’).
(b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence.
(c) You must pay for lots bought at Christie’s in the United Kingdom in the currency stated on the invoice in one of the following ways:
(i) Wire transfer
You must make payments to: Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, London EC3P 3BT. Account number: 00172710, sort code: 30-00-02 Swift code: LOYDGB2LCTY. IBAN (international bank account number): GB81 LOYD 3000 0200 1727 10.
(ii) Credit Card
We accept most major credit cards subject to certain conditions. You may make payment via credit card in person. You may also make a ‘cardholder not present’ (CNP) payment by calling Christie’s Post-Sale Services Department on +44 (0)20 7752 3200 or for some sales, by logging into your MyChristie’s account by going to: www.christies. com/mychristies. Details of the conditions and restrictions applicable to credit card payments are available from our Post-Sale Services Department, whose details are set out in paragraph (e) below.
If you pay for your purchase using a credit card issued outside the region of the sale, depending on the type of credit card and account you hold, the payment may incur a cross-border transaction fee. If you think this may apply to, you, please check with your credit card issuer before making the payment.
Please note that for sales that permit online payment, certain transactions will be ineligible for credit card payment.
(iii) Cash
We accept cash subject to a maximum of £5,000 per buyer per year at our Cashier’s Department only (subject to conditions).
(iv) Banker’s draft
You must make these payable to Christie’s and there may be conditions.
(v) Cheque
You must make cheques payable to Christie’s. Cheques must be from accounts in pounds sterling (GBP) from a United Kingdom bank.
(vi) Cryptocurrency
With the exception of clients resident in Mainland China, payment for a lot marked with the symbol may be made in a cryptocurrency or cryptocurrencies of our choosing. Such cryptocurrency payments must be made in accordance with the Terms for Payment by Buyers in Cryptocurrency set out at Appendix B in these Conditions of Sale.
(d) You must quote the sale number, lot number(s), your invoice number and Christie’s client account number when making a payment. All payments sent by post must be sent to: Christie’s, Cashiers Department, 8 King Street, St James’s, London, SW1Y 6QT.
(e) For more information please contact our Post-Sale Service Department by phone on +44 (0)20 7752 3200 or fax on +44 (0)20 752 3300.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following:
(a) When you collect the lot; or
(b) At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you in writing.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law):
(i) to charge interest from the due date at a rate of 5% a year above the UK Lloyds Bank base rate from time to time on the unpaid amount due;
(ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale;
(iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts;
(iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law;
(v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other part-payment which you have paid to us);
(vi) we can, at our option, reveal your identity and contact details to the seller;
(vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;
(viii) to exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the
law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and
(ix) we can take any other action we see necessary or appropriate.
(b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other partpayment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.
(c) If you make payment in full after the due date, and we choose to accept such payment we may charge you storage and transport costs from the date that is 30 calendar days following the auction in accordance with paragraphs Gd(i) and (ii). In such circumstances paragraph Gd(iv) shall apply.
5 KEEPING YOUR PROPERTY
If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe.
However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.
G COLLECTION AND STORAGE
(a) You must collect purchased lots within thirty days from the auction (but note that lots will not be released to you until you have made full and clear payment of all amounts due to us).
(b) Information on collecting lots is set out on the Storage and Collection page and on an information sheet which you can get from the bidder registration staff or Christie’s Post-Sale Services Department on +44 (0)20 7752 3200.
(c) If you do not collect any lot within thirty days following the auction we can, at our option:
(i) charge you storage costs at the rates set out at www.christies.com/storage.
(ii) move the lot to another Christie’s location or an affiliate or third party warehouse and charge you transport costs and administration fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs.
(iii) sell the lot in any commercially reasonable way we think appropriate.
(d) The Storage Conditions which can be found at www.christies.com/storage will apply.
H TRANSPORT AND SHIPPING
1 TRANSPORT AND SHIPPING
We will enclose a transport and shipping form with each invoice sent to you. You must make all transport and shipping arrangements. However, we can arrange to pack, transport and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing before you bid. We may also suggest other handlers, packers, transporters or experts if you ask us to do so. For more information, please contact Christie’s Art Transport on +44 (0)20 7839 9060. See the information set out at www.christies.com/shipping or contact us at arttransportlondon@christies.com. We will take reasonable care when we are handling, packing, transporting and shipping a lot. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act or neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of any lot you purchase.
(a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Art Transport Department on +44 (0)20 7839 9060. See the information set out at www.christies.com/shipping or contact us at arttransport_ london@christies.com
(b) You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other governmentimposed charges, you agree to refund that amount to Christie’s.
(c) Lots made of protected species Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the country in which the lot is sold and import it into another country as a licence may be required. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age, and you will need to obtain these at your own cost. Several countries have imposed restrictions on dealing in elephant ivory, ranging from a total ban on importing African elephant ivory in the United States to importing, exporting and selling under strict measures in other countries. The UK and EU have both implemented regulations on selling, exporting and importing elephant ivory. In our London sales, lots made of or including elephant ivory material are marked with the symbol and are offered with the benefit of being registered as ‘exempt’ in accordance with the UK Ivory Act. Handbags
containing endangered or protected species material are marked with the symbol ≈ and further information can be found in paragraph H2(h) below. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material.
(d) Lots of Iranian origin
As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). Some countries prohibit or restrict the purchase and/or import of Iranian-origin property. It is your responsibility to ensure you do not bid on or import a lot in contravention of any sanctions, trade embargoes or other laws that apply to you. For example, the USA prohibits dealings in and import of Iranian-origin “works of conventional craftsmanship” (such as carpets, textiles, decorative objects, and scientific instruments) without an appropriate licence. Christie’s has a general OFAC licence which, subject to compliance with certain conditions, may enable a buyer to import this type of lot into the USA. If you use Christie’s general OFAC licence for this purpose, you agree to comply with the licence conditions and provide Christie’s with all relevant information. You also acknowledge that Christie’s will disclose your personal information and your use of the licence to OFAC.
(e) Gold
Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’.
(f) Jewellery over 50 years old
Under current laws, jewellery over 50 years old which is worth £39,219 or more will require an export licence which we can apply for on your behalf. It may take up to eight weeks to obtain the export jewellery licence.
(g) Watches
Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within one year of the date of the sale. Please check with the department for details on a particular lot. For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots
(h) Handbags
A lot marked with the symbol ≈ next to the lot number includes endangered or protected species material and is subject to CITES regulations. This lot may only be shipped to an address within the country of the sale site or personally picked up from our saleroom. The term “hardware” refers to the metallic parts of the handbag, such as the buckle hardware, base studs, lock and keys and/or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware”, etc. refer to the tone or colour of the hardware and not the actual material used. If the handbag incorporates solid metal hardware, this will be referenced in the catalogue description
I OUR LIABILITY TO YOU
(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties.
(b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these Conditions of Sale; or (ii) we do not give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.
(c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services.
(d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot
(e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.
J OTHER TERMS
1 OUR ABILITY TO CANCEL
In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if: (i) any of your warranties in paragraph E3 are not correct; (ii) we reasonably believe that completing the transaction is or may be unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.
2 RECORDINGS
We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.
3 COPYRIGHT
We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot
4 ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.
5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.
6 TRANSLATIONS
If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.
7 PERSONAL INFORMATION
We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com/about-us/contact/privacy and if you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https://www.christies.com/about-us/ contact/ccpa
8 WAIVER
No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.
9 LAW AND DISPUTES
This agreement, and any contractual or non-contractual dispute arising out of or in connection with this agreement, will be governed by English law. Before either you or we start any court proceedings and if you and we agree, you and we will try to settle the dispute by mediation in accordance with the CEDR Model Mediation Procedure. If the dispute is not settled by mediation, you agree for our benefit that the dispute will be referred to and dealt with exclusively in the English courts; however, we will have the right to bring proceedings against you in any other court.
10 REPORTING ON WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www.christies.com
K GLOSSARY
auctioneer: the individual auctioneer and/or Christie’s. authentic: a genuine example, rather than a copy or forgery of:
(i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer;
(ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture;
(iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or
(iv)in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material.
authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in section E2 of this agreement.
buyer’s premium: the charge the buyer pays us along with the hammer price.
catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice
Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group.
condition: the physical condition of a lot
due date: has the meaning given to it in paragraph F1(a).
estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two.
hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot
Heading: has the meaning given to it in paragraph E2.
SubHeading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group).
other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law.
purchase price: has the meaning given to it in paragraph F1(a).
provenance: the ownership history of a lot
qualified: has the meaning given to it in paragraph E2 and Qualified
Headings means the section headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’.
reserve: the confidential amount below which we will not sell a lot
saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com, which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned.
UPPER CASE type: means having all capital letters.
warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.
Important Notice
The VAT liability in force on the date of the sale will be the rules under which we invoice you.
You can find the meanings of words in bold on this page in the glossary section of the Conditions of Sale.
VAT Payable
Symbol
No Symbol We will use the VAT Margin Scheme in accordance with Section 50A of the VAT Act 1994 & SI VAT (Special Provisions) Order 1995. No VAT will be charged on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
†
θ We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium and shown separately on our invoice. For qualifying books only, no VAT is payable on the hammer price or the buyer’s premium
* These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Ω These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
α The VAT treatment will depend on whether you have registered to bid with a UK address or non-UK address:
• If you register to bid with an address within the UK you will be invoiced under the VAT Margin Scheme (see No Symbol above).
• If you register to bid with an address outside of the UK you will be invoiced under standard VAT rules (see † symbol above)
‡ For wine offered ‘in bond’ only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer. If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the buyer’s premium and shown on the invoice.
VAT refunds: what can I reclaim?
Non-UK buyer If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
No symbol We will refund the VAT amount in the buyer’s premium
† and α We will refund the VAT charged on the hammer price. VAT on the buyer’s premium can only be refunded if you are an overseas business. The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.
‡ (wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export the wine while ‘in bond’ directly outside the UK using an Excise authorised shipper. VAT on the buyer’s premium can only be refunded if you are an overseas business. The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.
* and Ω We will refund the Import VAT charged on the hammer price and the VAT amount in the buyer’s premium
1. We CANNOT offer refunds of VAT amounts or Import VAT to buyers who do not meet all applicable conditions in full. If you are unsure whether you will be entitled to a refund, please contact Client Services at the address below before you bid.
2. No VAT amounts or Import VAT will be refunded where the total refund is under £100.
3. To receive a refund of VAT amounts/ Import VAT (as applicable) a non-UK buyer must:
a) have registered to bid with an address outside of the UK; and
b) provide immediate proof of correct export out of the UK within the required time frames of: 30 days of collection via a ‘controlled export’, but no later than 90 days from the date of the sale for * and Ωlots. All other lots must be exported within 90 days of the sale.
4. Details of the documents which you must provide to us to show satisfactory proof of export/shipping are available from our VAT team at the address below.
We charge a processing fee of £35.00 per invoice to check shipping/export documents. We will waive this processing
fee if you appoint Christie’s Shipping Department to arrange your export/ shipping.
5. Following the UK’s departure from the EU (Brexit), private buyers will only be able to secure VAT-free invoicing and/ or VAT refunds if they instruct Christie’s or a third party commercial shipper to export out of the UK on their behalf.
6. Private buyers who choose to export their purchased lots from the UK hand carry will now be charged VAT at the applicable rate and will not be able to claim a VAT refund.
7. If you appoint Christie’s Art Transport or one of our authorised shippers to
arrange your export/shipping we will issue you with an export invoice with the applicable VAT or duties cancelled as outlined above. If you later cancel or change the shipment in a manner that infringes the rules outlined above we will issue a revised invoice charging you all applicable taxes/charges. If you export via a third party commercial shipper, you must provide us with sufficient proof of export in order for us to cancel the applicable VAT or duties outlined above.
8. If you ask us to re-invoice you under normal UK VAT rules (as if the lot had been sold with a † symbol) instead of
under the Margin Scheme the lot may become ineligible to be resold using the Margin Schemes. You should take professional advice if you are unsure how this may affect you.
9. All reinvoicing requests, corrections, or other VAT adjustments must be received within four years from the date of sale.
If you have any questions about VAT refunds please contact Christie’s Client Services on info@christies.com
Tel: +44 (0)20 7389 2886. Fax: +44 (0)20 7839 1611.
COPYRIGHT NOTICE No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Christie’s. © COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2024)
The meaning of words coloured in bold in this section can be found in paragraph K, Glossary, of the section of the catalogue headed ‘Conditions of Sale’.
º Christie’s has a direct financial interest in the lot. See Important Notices in the Conditions of Sale for further information.
º
♦
Christie's has provided a minimum price guarantee and has a direct financial interest in this lot. Christie's has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information.
Christie’s has a financial interest in the lot. See Important Notices in the Conditions of Sale for further information.
Christie's has a financial interest in this lot and has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information.
¤ A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot
λ
Artist’s Resale Right. See Section D3 of the Conditions of Sale for further information.
• Lot offered without reserve
∼ Lot incorporates material from endangered species which could result in export restrictions. See Section H2(c) of the Conditions of Sale for further information.
≈
Handbag lot incorporates material from endangered species. International shipping restrictions apply. See paragraph H2 of the Conditions of Sale for further information.
Lot incorporates elephant ivory material. See paragraph H2 of the Conditions of Sale for further information.
ψ
Lot incorporates material from endangered species which is shown for display purposes only and is not for sale. See Section H2(h) of the Conditions of Sale for further information.
Lot is a Non Fungible Token (NFT). Please see Appendix A –Additional Conditions of Sale – Non- Fungible Tokens in the Conditions of Sale for further information.
Lot contains both a Non Fungible Token (NFT) and a physical work of art. Please see Appendix A – Additional Conditions of Sale – Non-Fungible Tokens in the Conditions of Sale for further information.
With the exception of clients resident in Mainland China, you may elect to make payment of the purchase price for the lot via a digital wallet in the name of the registered bidder, which must be maintained with one of the following: Coinbase Custody Trust; Coinbase, Inc.; Fidelity Digital Assets Services, LLC; Gemini Trust Company, LLC; or Paxos Trust Company, LLC. Please see the lot notice and Appendix B – Terms for Payment by Buyers in Cryptocurrency in the Conditions of Sale for further requirements and information.
† , Ɵ, *, Ω, α, ‡ See VAT Symbols and Explanation in the Conditions of Sale for further information.
See Storage and Collection Page.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot
CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION
Δ Property in which Christie’s has an ownership or financial interest
From time to time, Christie’s may offer a lot in which Christie’s has an ownership interest or a financial interest. Such lot is identified in the catalogue with the symbol Δ next to its lot number. Where Christie's has an ownership or financial interest in every lot in the catalogue, Christie's will not designate each lot with a symbol, but will state its int erest in the front of the catalogue.
º Minimum Price Guarantees
On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the lot. This is known as a minimum price guarantee. Where Christie’s holds such financial interest, we identify such lots with the symbol º next to the lot number.
º♦ Third Party Guarantees/Irrevocable bids
Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss, which can be significant if the lot fails to sell. Christie’s therefore sometimes chooses to share that risk with a third party who agrees, prior to the auction, to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦
In most cases, Christie’s compensates the third party in exchange for accepting this risk. Where the third party is the successful bidder, the third party’s remuneration is based on a fixed financing fee. If the third party is not the successful bidder, the remuneration may either be based on a fixed fee or an amount calculated against the final hammer price. The third party may also bid for the lot above the irrevocable written bid.
Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot
Property in which Christie’s has an interest and Third Party Guarantee/Irrevocable bid
Where Christie's has a financial interest in a lot and the lot fails to sell, Christie's is at risk of making a loss. As such, Christie's may choose to share that risk with a third party whereby the third party contractually agrees, prior to the auction, to place an irrevocable written bid on the lot. Such lot is identified with the symbol next to the lot number. Where the third party is the successful bidder on the lot, he or she will not receive compensation in exchange for accepting this risk. If the third party is not the successful bidder, Christie's may compensate the third party. The third party is required by us to disclose to anyone he or she is advising of his or her financial interest in any lot in which Christie's has a financial interest. If you are advised by or bidding through an agent
on a lot in which Christie's has a financial interest that is subject to a contractual written bid, you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot
Bidding by parties with an interest
When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot. Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full buyer’s premium plus applicable taxes.
Post-catalogue notifications
If Christie’s enters into an arrangement or becomes aware of bidding that would have required a catalogue symbol, we will notify you by updating christies.com with the relevant information (time permitting) or otherwise by a pre-sale or pre-lot announcement.
Other Arrangements
Christie’s may enter into other arrangements not involving bids. These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue.
Please see http://www.christies.com/ financial-interest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements.
EXPLANATION OF CATALOGUING PRACTICE
Terms used in this catalogue have the meanings ascribed to them below. Please note that all statements in a catalogue as to authorship are made subject to the provisions of the Conditions of Sale, including the authenticity warranty. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Buyers are advised to inspect the property themselves. Written condition reports are usually available on request.
A term and its definition listed under ‘Qualified Headings’ is a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.
ANTIQUITIES
Labels: wording on labels may be specified as part of the catalogue description
QUALIFIED HEADINGS
“5th Century B.C.”: in Christie’s qualified opinion this object dates from the 5th Century B.C.
“Probably 5th Century B.C.”: in Christie’s qualified opinion this object most probably dates from the 5th Century B.C., but there remains the possibility that it may be dated differently.
“Possibly 5th Century B.C.”: in Christie’s qualified opinion this object could be dated to the 5th Century B.C. but there is a strong element of doubt.
“After the Antique”: in Christie’s qualified opinion this object was made relatively recently (approximately in the past two hundred years) as a decorative copy in an ancient style, but not a deliberate forgery made with the intention to deceive.
With respect to Vases:
“Attributed to …”: in Christie’s qualified opinion probably a work by the artist in whole or in part.
“Workshop of/Group of …”: in Christie’s qualified opinion a work of the period of the artist, probably executed in the workshop of the artist, but not necessarily by him.
“Circle of …”: in Christie’s qualified opinion a work of the period of the artist and showing likeness in drawing.
“School of/Follower of …”: in Christie’s qualified opinion a work of the period of the artist, or slightly later, emulating the artist’s style,
“Near/Manner of …”: in Christie’s qualified opinion a work of the period of the artist, very close to the artist’s hands, but for which the attribution is not confirmed.
“Signed …”/“Inscribed …”: in Christie’s qualified opinion the work has been signed/inscribed by the artist.
EXPORT LICENCE REGULATIONS
Buyers are reminded that antiquities purchased in our sales are liable to either UK or EU export licence regulations. In the event that a licence is required, buyers are advised to apply for export licences immediately after the sale to avoid delay.
U.S. TRADE RESTRICTIONS
Please note that lots of Iranian origin are subject to U.S. trade restrictions which currently prohibit their import into the United States. Similar restrictions may apply in other countries.
EXPORT LICENCE REGULATIONS
Buyers are reminded that antiquities purchased in our sales are liable to either UK or EU export licence regulations. In the event that a licence is required, buyers are advised to apply for export licences immediately after the sale to avoid delay.
U.S. TRADE RESTRICTIONS
Please note that lots of Iranian origin are subject to U.S. trade restrictions which currently prohibit their import into the United States. Similar restrictions may apply in other countries.
COLLECTION LOCATION AND TERMS
Specified lots (sold and unsold) marked with a filled square ( ) not collected from Christie’s, 8 King Street, London SW1Y 6QT by 5.00pm on the day of the sale will, at our option, be removed to Crozier Park Royal (details below). Christie’s will inform you if the lot has been sent offsite.
If the lot is transferred to Crozier Park Royal, it will be available for collection from 12.00pm on the second business day following the sale.
Please call Christie’s Client Service 24 hours in advance to book a collection time at Crozier Park Royal. All collections from Crozier Park Royal will be by prebooked appointment only
Tel: +44 (0)20 7839 9060
Email: cscollectionsuk@christies.com.
If the lot remains at Christie’s, 8 King Street, it will be available for collection on any working day (not weekends) from 9.00am to 5.00pm.
COLLECTION AND CONTACT DETAILS
Lots will only be released on payment of all charges due and on production of a Collection Form from Christie’s. Charges may be paid in advance or at the time of collection. We may charge fees for storage if your lot is not collected within thirty days from the sale. Please see paragraph G of the Conditions of Sale for further detail.
Tel: +44 (0)20 7839 9060
Email: cscollectionsuk@christies.com
SHIPPING
Christie’s Post-Sale Service can organise local deliveries or international freight. Please contact them on +44 (0)20 7752 3200 or PostSaleUK@christies.com.
CROZIER PARK ROYAL
Unit 7, Central Park Central Way London NW10 7FY
Vehicle access via Central Way only, off Acton Lane.
COLLECTION FROM CROZIER PARK ROYAL
Please note that the opening hours for Crozier Park Royal are Monday to Friday 8.30am to 4.30pm and lots transferred are not available for collection at weekends.
Christie’s is committed to building a sustainable business model that promotes and protects the environment. Our digital platform on christies.com offers a conscious approach, creating an immersive space where we bring art to life through high quality images, videos and in-depth essays by our specialists.
With this robust online support, Christie’s will print fewer catalogues to ensure that we achieve our goal of Net Zero by 2030. However, when we do print, we will uphold the highest sustainable standards.
Please scan for more information about our sustainability goals and projects.
The catalogue you are reading is:
printed on fully recycled paper;
printed with vegetable-based ink and biodegradable laminates;
printed in close proximity to our markets in an effort to reduce distribution emissions.
From January 2020, new anti-money laundering regulations require Christie’s and other art businesses to verify the identity of all clients. To register as a new client, you will need to provide the following documents, or if you are an existing client, you will be prompted to provide any outstanding documents the next time you transact.
Private individuals:
• A copy of your passport or other government-issued photo ID
• Proof of your residential address (such as a bank statement or utility bill) dated within the last three months
Please upload your documents through your christies.com account: click ‘My Account’ followed by ‘Complete Profle’. You can also email your documents to info@christies.com or provide them in person.
Organisations:
• Formal documents showing the company’s incorporation, its registered ofice and business address, and its oficers, members and ultimate benefcial owners
• A passport or other government-issued photo ID for each authorised user
Please email your documents to info@christies.com or provide them in person.
