mm 37,00

This lot is accompanied by certificate

Deborah Butterfield
Isabel

2002
cast bronze with patina
38 h × 44 w × 21 d in (97 × 112 × 53 cm)

Provenance: Zolla / Lieberman Gallery, Chicago | Acquired from the previous in 2002 by present owner
Condition
Condition reports are rendered as specialist opinion by the staff of the Auction House and/or independent consultants and not as statements of fact. We do not guarantee the content of written or verbal condition reports. The absence of a condition report does not imply that there are no condition issues with the lot. Please call us at (609) 397-9374 or e-mail [email protected] with any questions about this lot at least 24 hours prior to auction.

Edwardian Tiffany & Co. Platinum and Diamond Pendant, set with a pear-shape diamond weighing 3.19 cts., suspended from an old European-cut diamond weighing approx. 0.50 cts., diamond bail, lg. 1 1/8 in., signed.

Note: Accompanied by GIA report no. 6207751887, dated December 2, 2019, stating that the diamond is D color, VS1 clarity.
Estimate $40,000-60,000

With a later platinum chain, Tiffany & Co., signed, 18 in.
No fluorescence.

Items may have wear and tear, imperfections, or the effects of aging. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner shall have no responsibility for any error or omission.

West Africa, Liberia, Bassa people, ca. early 20th century CE. A fine example of a dark wooden mask in the classic Bassa style, with the face so deeply set from the brow that it appears almost inverted, the eyes sunken back into the head while the mouth and chin project outwards. The mouth is small, round, and juts outward. An elaborate incised coiffure gives the appearance of thick braids that flow back from the hairline. A rich patina is on the surface and the proportions of this stunning mask make it visually fascinating. Size: 6.7″ W x 11.55″ H (17 cm x 29.3 cm); 17.35″ H (44.1 cm) on included custom stand.

Liberian dancers often wear intricately carved masks like this one during ritual dance performances, the masks thought to channel spirits whom they were carved to represent. This mask was made as part of the men’s No association, and was designed to show the desirable traits that women should possess. It would have been attached by the openings around its back to a large, woven headdress that would fully cover the head and shoulders of the dancer who would wear it.

Provenance: private New York, New York, USA collection; ex-private New York, USA collection

All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.

A Certificate of Authenticity will accompany all winning bids.

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#147160
Condition
Rich patina on surface with light deposits. Really nice condition for its age, with some losses around the back edges and very small losses on the top of the head.

Weight g 42,90 cm 7,40

Roman, late Republican to early Imperial periods, ca. 2nd century BCE to 1st century CE. A stunning glazed ceramic chalice whose surface is decorated by rows of staggered pinecone scales (the pinecone motif perhaps referencing the cult of Dionysos, as the god of wine carried a staff or thyrsus topped by a pine cone), twin ring handles with thumb plates in the form of dramatic volutes above them, and the exterior glazed in hues of rich, verdant green, the interior of golden orange – all gracefully supported by a wide disc foot. The exterior glaze has gained an incredible pearlescence over the centuries so that the true color shines through in some places, giving the body the appearance of a pine cone under snow. Size: 6.6″ W x 3.75″ H (16.8 cm x 9.5 cm)

For centuries, Greco-Roman pottery was decorated via the black-figure and red-figure techniques; however, in the second half of the first century BCE, Roman artisans created a new technique – covering vessels with vitreous, lead-based glazes that made for a beautiful glossy colors like the stunning greens and golden oranges gracing this piece. This is sometimes known as “Rhosian ware” or “rhosica vasa”, and it was mainly made in Tarsos and elsewhere in Asia Minor, though some examples were made in Italian workshops too. The form seems to have been influenced by metal and glass vessels, and perhaps provided a more affordable but still stylish vessel for Roman customers.

See a similar vessel at the Walters Art Museum in Baltimore: https://art.thewalters.org/detail/40073/skyphos-with-pinecone-pattern-decoration-in-relief/ and another at the Getty in Los Angeles: http://www.getty.edu/art/collection/objects/12314/unknown-maker-lead-glazed-skyphos-roman-50-bc-ad-50/

Provenance: private-East Coast, USA collection; ex-Frances Artuner collection, Belgium, acquired in the 1960s

All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.

A Certificate of Authenticity will accompany all winning bids.

We ship worldwide and handle all shipping in-house for your convenience.

#146055
Condition
Intact, with excellent remaining glaze. A few tiny chips and nicks from surface commensurate with age. Pearlescence on surface with deposits and craquelure.

Very rarely does a coin operated music machine come along so beautifully restored, down to the screws, that it simply leaves you speechless. This Bow-front Violano-Virtuoso is just that machine. Fully restored in just the past 6 months by Robert Loeffler, this Violano is in a league of is own. There are less than 20 of these majestic machines known today, and this one stands out as one of the best. From the beautiful quartered oak cabinet with its rich “tiger” striping, to the deep rich tone of the violin, perfectly tuned piano, and simply every detail meticulously accounted for, this superb music machine is nothing less than a work of art. Perfection in oak. All the keys, 6 rolls are included.

MICHAEL HALSBAND (1956- )
Andy Warhol and Jean-Michel Basquiat. Silver print, the image measuring 19 3/4×19 1/2 inches (50.2×49.5 cm.), the sheet 30×24 inches (76.2×61 cm.), with Halsband’s signature, title, dates, and location New York City, in pencil, and his hand stamp, on verso. 1985; printed 1997

MARIO STURANI (1906-1978) – LENCI

PEN HOLDER SCULPTURE

Polychrome ceramic, on the back the inscription “Sturani”. Signature on the base “ Lenci MADE IN ITALY-18.1.1932” and decorator graphic symbol mod. nr 208.

20x19x12 cm

Bibl

A pair of nineteenth century French Sevres style cobalt vases having hand painted courting scenes and bronze putto mounts.v