Dreweatts 1759 | The Collection of The Hon. Patrick and Lady Amabel Lindsay

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The Collection of The Hon. Patrick and Lady Amabel Lindsay

Dreweatts

Donnington Priory

Newbury, Berkshire

RG14 2JE

United Kingdom

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Viewing in London (highlights): 16-17 Pall Mall, SW1Y 5LU
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Jun 02, 2026 10:30 AM BST

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Buyer's premium	27 % (exc. Sales tax)
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A CHINESE BLUE GLAZED BUST OF A RED ARMY SOLDIER, 20TH CENTURY

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150 GBP

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250 - 350 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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λ ALFREDO PINA (ITALIAN, 1883-1969)- A CARVED WHITE MARBLE FIGURE 'SLEEPING NYMPH'

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3,500 GBP

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4,000 - 6,000 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A CARVED OAK FIGURE OF A SERVANT POURING WINE AT THE WEDDING FEAST AT CANA. FLEMISH

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1,800 GBP

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1,800 GBP

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2,000 - 3,000 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A CARVED OAK GROUP OF CHRIST AND MARY AT THE WEDDING AT CANA, FLEMISH

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1,900 GBP

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1,900 GBP

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2,000 - 3,000 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A PAIR OF FAIENCE POT-POURRI VASES AND COVERS, FRENCH, LATE 19TH CENTURY

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30 GBP

Opening bid

30 GBP

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60 - 100 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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CIRCLE OF CAMELIO- A BRONZE FIGURE OF A STANDING MAN, EARLY 16TH CENTURY

Quantity

9,000 GBP

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9,000 GBP

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10,000 - 15,000 GBP

CIRCLE OF VITTORE GAMBELLO, KNOWN AS 'CAMELIO' (CIRCA 1455/60-1537)- A BRONZE FIGURE OF A STANDING MAN EARLY 16TH CENTURY With his left arm extended, on later Rosso Levanto marble base bronze 39cm high, 55cm high overall Provenance : Camillo Castiglioni; Frederik Muller, Amsterdam, 18 November 1925, lot 37. Christie's, London, 18 June 1968, lot 101 (to David Peel). Christie's, London, 8 December 1981, lot 245 (as 'attributed to Jacopo Sansovino', sold £17,000). Literature : W. Bode, The Italian Bronze Statuettes of the Renaissance , rev. by J. Draper, New York, 1980, pp. 101-102, pl. CLIV. B. Boucher, The Sculpture of Jacopo Sansovino , New Haven and London, 1991, I-II, no. 124, p. 374, figs. 399-400. V. Krahn, Von Allen Seiten Schön, Bronzen der Renaissance und des Barock , exh. cat., Berlin, 1995, no. 40, pp. 222-224. In general pose, the present bronze is similar to a bronze that was purchased - with a pendant figure - in the mid-19th century from the Palazzo Rezzonico, Venice, by Count William Pourtalès. The bronzes would subsequently change ownership at least twice and were eventually donated to the Detroit Institute of Arts in 1949 (inv. nos. 49.417 and 418). The bronzes have defied a widely accepted attribution, having been given to Jacopo Sansovino, Francesco da Sangallo, Bartolomeo Ammanati and, most recently, Danese Cattaneo (for a history of the attributions of the Pourtalès bronzes, see Boucher, op. cit ., no. 124. p. 374). This would suggest that art historians detect both Venetian and Florentine influences in those bronzes. It is true that there is a languid grace to the bronze offered here that suggests a knowledge of Sansovino and his pupil Cattaneo both of whom started their careers in Florence but moved to Venice where they became highly influential. However, the waxy nature of the cast and the dark, relatively opaque patina of the present bronze suggest a Venetian foundry. More recently, it has been suggested that the bronze should be associated with Vittore Gambello, known as Camelio. Like many Italian artists, Camelio was from a family of sculptors and architects. He studied drawing under Giovanni Bellini but was principally known as a medallist. He is first recorded at the Venetian Mint in 1484 and was still associated with it until at least 1523. He worked at the Papal Mint in Rome from 1515-1517. However, he also produced sculpture in both bronze and marble. His oeuvre remains ill-defined, but two signed bronze reliefs in the Ca d'Oro, Venice, provide a starting point for further attributions (for an illustration and discussion of one of the two reliefs, see Krahn , loc. cit .). These reliefs, both of which depict frieze-like scenes of battling nude men, share a number of similarities with the present bronze. Although at first glance the physical types seem different, much of this is to do with the fact that the bronze offered here is a man depicted in relaxed contrapposto, while the figures of the reliefs are exerting themselves in the heat of battle. The fact that one figure is completely three-dimensional and the others are depicted across a plane is also significant. Details such as the abundant hair, the prominent nipples and the well-defined musculature are common to all three bronzes. It is worth noting that a bronze model of Hercules Resting - based on the Farnese Hercules and long attributed to Camelio - displays the same languor evident in the bronze offered here (an example of this model is in the Victoria and Albert Museum, London, accession number 5420-1859). The author of the present bronze therefore appears to have been influenced by Camelio, while also acknowledging the pervasive presence of Jacopo Sansovino and his immediate circle in Venice.

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A CREAMWARE FIGURE OF A CHILD, ITALIAN, 18TH CENTURY

Quantity

600 GBP

Opening bid

600 GBP

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1,000 - 1,500 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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CIRCLE OF ANTONELLO GAGGINI (1478 - 1536)- A MARBLE LUNETTE OF THE RESURRECTION ITALY

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13,000 GBP

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15,000 - 25,000 GBP

CIRCLE OF ANTONELLO GAGGINI (PALERMO 1478-1536 PALERMO)- A MARBLE LUNETTE OF THE RESURRECTION EARLY 16TH CENTURY Depicting Christ standing in the centre flanked by four soldiers in a rocky landscape, with inventory number 'IN.692' 86cm wide, 34cm high, 5.5cm deep at the edge Provenance : Acquired by Carl Jacobsen (1842-1914) through Wolfgang Helbig, 18 January 1894 in Venice for 1,800 Danish Kroner. Jacobsen Collection and subsequently the Ny Carlsberg Glyptotek, Denmark, until sold at Arne Bruun Rasmussen, Copenhagen, 7 December 1971. Christie's, London, 30 November 1983, lot 67. Literature : J. Pope-Hennessy , Catalogue of Italian Sculpture at the Victoria and Albert Museum , London, 1964, I-III, nos. 410-411, 415, pp. 386-387, 391-392, pls. 2503-2505. H.-W. Kruft, Antonello Gagini und seine Söhne , Munich, 1980, no. 81, fig. 112. The present marble relief almost certainly formed the upper part of an altarpiece or tabernacle, commissioned for a private home or chapel. At the time of its sale at Christie's in 1983, it was said to have come from the Jacobsen Collection in Denmark, and this has recently been confirmed. Carl Jacobsen (1842-1914) amassed a fortune derived from the Carlsberg brewery. He was an important philanthropist and art collector, especially of antique marbles. His collection was given to create the Ny Carlsberg Glyptotek in 1897, one of Denmark's most important museums. The relief offered here was sold to Jacobsen through the offices of Wolfgang Helbig, who was crucial in helping Jacobsen source works of art in Italy. The relief depicts the moment that Christ, following his crucifixion, rises from the tomb surrounded by Roman soldiers. It has been connected, on stylistic grounds, to the work of the Italian renaissance sculptor Antonello Gaggini (1478-1536) who was one of the most important members of a dynasty of sculptors and architects who flourished in the 15 th and 16 th centuries. Gaggini studied in the studio of his father, Domenico, and in the early years of his career he is known to have assisted Michelangelo in the creation of the tomb of Julius II in San Pietro in Vincoli, Rome, famous today for Michelangelo's superb seated figure of Moses. Gaggini came to dominate the world of sculpture in Sicily and Calabria, with a large workshop that was able to satisfy the demands of the church as well as private patrons. His most important commission came in 1507 when he was asked to create an enormous, multi-figure altarpiece for the cathedral in Palermo. This would, in fact, not be finished until 1574, long after Gaggini's death. The altarpiece would later be disassembled, but many of the figures remain in the cathedral in different locations. The figure of Christ in the present relief can be compared to the free-standing Resurrected Christ Gaggini created for the cathedral of Palermo (for an illustration see Kruft, op. cit ., fig. 112). The poses are virtually identical but, more importantly, there are numerous physical similarities between the two figures including the square head with broad forehead as well as the relatively high waist and short torso evident in both figures. Stylistic similarities to the background, with its stylised rockwork landscape can be made to other works from the Gaggini family, including a marble relief of the Agony in the Garden by Fazio and Vincenzo Gaggini, also in the cathedral in Palermo (see Kruft, op. cit , fig. 510). It is worth noting that Antonello had five sons born between 1503 and 1527 - including Fazio and Vincenzo - all of whom became sculptors. It is possible that the present work is the product of one of these artists. Dreweatts are grateful to Matthias Wivil for his assistance in confirming the Jacobsen provenance.

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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CIRCLE OF SIMONE BIANCO- A MARBLE RELIEF OF THE EMPEROR MARCUS AURELIUS & EMPRESS FAUSTINA

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18,000 GBP

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20,000 - 30,000 GBP

CIRCLE OF SIMONE BIANCO (LORO CIUFFENNA BEFORE 1512 - AFTER 1555 VENICE)- A MARBLE RELIEF OF THE EMPEROR MARCUS AURELIUS AND EMPRESS FAUSTINA CIRCA 1535 Depicted facing each other; in a later moulded marble frame inscribed beneath 'FAVSTINA M:AURELIVS' relief panel approximately 69cm wide, 54cm high, 29cm deep, overall approximately 87cm wide, 74cm high Provenance : Almost certainly Cardinal Mazarin (1602-1661). Thomas, 8 th Earl of Pembroke (1654-1732), and by descent to Sidney, 16 th Earl of Pembroke (1906-1969); Christie's, London, 2 June 1964, lot 97 Literature : A. Luchs, Tullio Lombardo and Ideal Portrait Sculpture in Renaissance Venice, 1490-1530 , Cambridge, 1995, p. 276, fig. 137. A. Markham Schulz, The History of Venetian Renaissance Sculpture, ca. 1400-1530 , London, 2017, pp. 358-362, figs. 743-754. The relief offered here represents the Roman Emperor Marcus Aurelius (121-180 AD) and his wife, the Empress Faustina (c. 130-c. 175 AD). Marcus Aurelius succeeded Antoninus Pius as emperor in 161 and is considered the last of the 'Five Good Emperors'. He was also a noted philosopher, and his Meditations are one of the most important sources to describe Stoic philosophical practices in ancient Rome. He married Faustina the Younger, his cousin and step-sister, in 145. The relief once formed part of the celebrated collection assembled by the 8 th Earl of Pembroke which came to be known as the Wilton Marbles, after the Earl's country seat, Wilton House, in Wiltshire. The Earl began collecting ancient sculpture seriously in 1710 and by the time of his death in 1732 he had formed one of the earliest and most important collections of its type in the country. The collection remains largely intact at Wilton, although some sales took place at Christie's in the 1960s, at which point the present relief was sold. The 8 th Earl bought from a wide variety of sources including from dealers and from celebrated private collections. Among the latter, he was known to have acquired numerous pieces from the collection of Cardinal Mazarin (1602-1661). Mazarin, a diplomat, prelate and politician of Italian origin, became one of the most influential figures in French court life and European politics, serving as chief minster to both Louis XIII and Louis XIV. Mazarin was also a voracious collector of art as well as being an important patron. He founded the Royal Academy of Painting and Sculpture in 1648, and at his death, the collection recorded at his palace in Paris included over 800 paintings, as well as hundreds of antique statues and busts, jewellery, hardstone objects, precious stones and books. The value of his estate was second only to that of the king himself. At his death, the collection was largely dispersed, with many items purchased by the crown, some bequeathed to institutions and the remainder left to his nieces and nephews. When the Palais Mazarin was being emptied for its eventual sale in 1720, the Earl of Pembroke is known to have purchased a large quantity of marbles and pedestals. Although the present relief has always been catalogued as 'almost certainly' from the Mazarin collection, an entry from the inventory produced at the time of Mazarin's death would seem to leave little room for doubt; ' Une médaille de marbre blanc, avec deux testes en profile qui se regardant, une de Marc Aurelle et l'autre de Faustine, enchassée d'une bordure de marbre gris et posée sure une pied d'estal de marbre bresche' ('A medal of white marble, with two profiles which look at each other, one of Marcus Aurelius and the other of Faustina, embedded in a frame of grey marble and placed on a pedestal of Breche marble'; transcribed in Luchs, op. cit ., p. 165, note 26). In her book on Tullio Lombardo and portrait sculpture of the Renaissance, Alison Luchs discusses the relief, although she was unaware of its location and based her comments on photographs ( ibid ., pp. 86-87). The tentative attribution to Bianco had come at the time of its sale at Christie's, however she stated that the idea 'remained attractive', noting the similarity of the treatment of Faustina's hair to other known works by Bianco, as well as the fact that he executed a number of busts in imitation of antique style ( ibid ., p. 86). She also points out that several of his works all'antica were sent to the French court by 1538 and suggests that this might have been the way in which the relief offered here made its way to France ( ibid ., p. 87).

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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AFTER THE ANTIQUE- A PAVONAZZETTO MARBLE FIGURE OF A BULL, ROMAN

111

Quantity

13,000 GBP

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13,000 GBP

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15,000 - 25,000 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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FOURTEEN VARIOUS SIENESE MAIOLICA CRESPINA, MODERN

257

Quantity

280 GBP

Opening bid

280 GBP

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300 - 500 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire