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Di 14 Mai

A bronze statue of a woman with a vessel on her head, Bactrian, late 3rd - early 2nd millenium B.C. Bronze sculpture of a woman with a long shawl curved around her hips, reaching just before her ankles. The shawl divided into three zones by two incisions in the lower section, the surface decorated with fine dot punctures representing a decoration or the texture of the shawl. The upper part of the body naked with two stylised breasts whose nipples are clearly set off. In the centre of the abdomen from the navel to the breast a line of hatchings arranged like fish bones, probably representing body painting or a tattoo. Around the neck a set of four necklaces, the uppermost and the lowermost decorated with a zigzag pattern. The face with eyes, eyebrows, nose and mouth strikingly worked out in idiosyncratic stylisation, the hairstyle with long, strictly combed back hair gathered into a "fishtail-shaped" chignon at the nape of the neck, under which two ribbons hang between the clearly depicted shoulder blades. The right arm bent with the forearm horizontal, the fingers of the hand formed into a circle in which an object could once be inserted. The left arm reaching over the head to a double conical vessel with funnel rim, holding it with the hand above the carination on the head. The shoulder of the vessel decorated with chip carving, which leaves plastically protruding zigzag bands between the depressions. The vessel and the head are hollow. Very beautiful, dark green patina. On the back of the lower hem of the garment and the legs protruding from underneath, as well as on the side of the vessel on the head grass-green oxide layers. The feet broken off, otherwise completely intact. Preserved height 21.4 cm. Impressive and graceful bronze sculpture of the Central Asian Bronze Age. Provenance: Rhenish private collection. Condition: I - II

Kein Schätzwert

Di 14 Mai

A published red-figured Attic pelike with the depiction of Penelope, circa 450 B.C. Masterly elaborated pelike in the red-figured style. The front depicts a woman with a servant. The lady sits on a stool, she wears a chiton and a himation with a black hem. She has her hair pulled back with a broad fillet. The right leg is crossed over her left one, and she rests her lowered head on the right arm. She seems to be lost in her thoughts. The depiction corresponds to that of Penelope's, wife of Odysseus, from the 5th century B.C. Similar representations can be seen in a marble sculpture from Persepolis and the Attic Skyphos from Chiusi, which gave the Penelope Painter his name. The servant faces her mistress. She wears a long, pleated chiton and a sakkos over her hair. Her arms are stretched out and handing a fillet to the lady. A wreath floating above the scene. The back depicts a young man with a fillet and a staff. On the neck between the handles egg-dart motive. Height 20 cm. Except for some minor wear intact. Published in: J. Oleson und D. Buitron, "Coins and Vases of Arthur Stone Dewing", Cambridge 1971, number 22. The painting style referring to the Sabouroff Painter or one of his successors – the Munich Painter 2363 or the Trophy Painter. Provenance: American private collection Arthur Stone Dewing (1880 - 1971), Boston, USA. By decent to his daughter Mary Morain (died 1999) and his son-in-law Lloyd (died 2010). Auctioned with Christie’s New York on 9 June 2011, lot 91. Exhibited in the Boston Museum of Fine Arts from 1961 to 2002. On loan also in the Fogg Museum Cambridge from 11 March to 15 April 1971, as well as in 2002. Condition: I -

Kein Schätzwert

Di 14 Mai

A marble torso of a countryman, 2nd century A.D. High-quality torso of a strong, male figure wearing a sheepskin. The fur is tied around the belly and is only closed at the left shoulder. The man, interpreted as a hunter or farmer, is holding a skewer with two birds, probably ducks, in his right hand at hip height. His left arm runs parallel to his body, and in his hand he holds a rabbit by its legs. The muscles and bone structure are worked in great detail. Unrestored. Dimensions 46 x 22 x 14 cm, height on steel base 49 cm. The sculpture belongs to the genre of "fishermen and country people", a genre that probably originated in Hellenism. The statues of this group show simple people, often clearly characterized as poor and marked by life. Often it is fishermen and hunters who carry their captured animals, typically small game, and sometimes Dionysian attributes are also present, so that one would assume that the figures are on the way to a Dionysian festival to which they contribute their prey. The basic research on this: H. P. Laubscher "Fischer und Landleute. Studien zur hellenistischen Genreplastik", Mainz 1982. An identical torso, which most likely comes from the same workshop and can be assigned to the same group of figures, is in the Barnes Foundation in Philadelphia, USA, under the accession number A231. The Barnes torso in the same spotted fur holds a wineskin in his arms, but is interpreted as a satyr. Mounted. Provenance: Belgian private collection U. C., acquired in the 1950s. Since then in a diplomatic family estate. Condition: II -

Kein Schätzwert

Mi 15 Mai

Tintenfass mit badender Diana Feuervergoldete Bronze, Lapislazuli, Rhodochrosit. Auf einem oblongen Sockel mit vorstehenden schrägen Ecken die leicht erhöhte vollplastische Figur einer hockenden Frau mit Bogen. In die vier Ecken zwei Tintenfässer und zwei Streusandbüchsen eingefügt. Im roten Stein der Basis Griffmulden. Chips am Rand der Basis, Vergoldung in Stellen berieben. H 26,5, B 26,5, T 17,4 cm. Russland, 1833, wohl unter Verwendung einer vermutlich früheren Bronzefigur aus Italien. Die fein ziselierte Bronze geht zurück auf eine hellenistische Skulptur, die traditionell als "Badende Aphrodite" bezeichnet wird. Die Frau ist in einer Haltung dargestellt, die für die badenden griechischen Frauen typisch war, die in kleinen Becken hockten und sich mit Hilfe von Mägden reinigten, die sie mit Wasser begossen. Der Statuentypus war äußerst beliebt in römischer Zeit, wo die Figur auch in den Bädern reicher Privatpersonen aufgestellt wurde. Römische Exemplare der "Crouching Aphrodite" finden sich in zahlreichen Museen und Privatsammlungen, u.a. im Museo Archeologico Nazionale di Napoli, im Louvre Paris, in der Sammlung The Metropolitan Museum of Art, New York (acc. no. 09.221.1), im Museo del Prado und in der Fondazione Torlonia (inv. MT 170). Das Motiv wurde schon im 16. Jahrhundert über Druckgrafik verbreitet, sowohl von Marcantonio Raimondi als auch in Deutschland von Albrecht Altdorfer. Auch berühmte Bildhauer wie Giambologna kopierten die Figur. Hier ist das bekannte Modell zu einer Diana im Bad geworden, die anhand ihres Bogens so identifiziert werden kann. Möglicherweise geschah das auf Wunsch des Auftraggebers. Die abgebildete Zeichnung der Basis ist nicht identifiziert und liegt nicht im Original vor, sondern nur in einer Kopie. Provenienz Lord Ian Hedworth John Little Gilmour, Baron of Craigmillar (1926 – 2007). Durch Vererbung an Christopher und Mardi Gilmour, Winslow Hall, Buckinghamshire, England UK. Italienische Sammlung.

Schätzw. 15 000 - 20 000 EUR
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