Pure by Masterart

Pure

by appointment: England : Suite 744, 2 Old Brompton Road, London sw7 3dq Mobile : + 44 [0] 77 68 23 69 21 Belgium : Rue Ernest Allard 32, 1000 Brussels Mobile : + 32 [0] 470 64 46 51 Email : enquiries@ﬁnch-and-co.co.uk Website : www.ﬁnchandco.art

A Fine Rare Portuguese Macao Carved Ivory Devotional Plaque Depicting St Jerome Kneeling before Christ

A Fine Mesopotamian Eye Idol

3 A Fine Large Wedgwood Black Basalt Library Bust of the Ancient Greek Epic Poet Homer

4 A Fine Silver Mounted Hunting Hanger

An African Sande or Bundu Mask

An English Scrimshaw Decorated Tooth

7 A Rare and Fine Pair of Japanese Export Lacquer Portrait Medallions on Copper Decorated in Gold Hirahaki-E and Kinji on a Roironuri Ground Depicting Roman Emperors

A Fine and Rare English Silver Mounted Hanger

9 A Rare and Finely Detailed Greek Bronze Statuette of an Actor

A Finely Carved High Relief of St John

A Very Fine Set of Persian Chiselled Armour

A Rare Adelie Penguin Egg from the Australian 1911–14 Expedition

13 A Wedgwood Black Basalt Library Bust of Cicero (106–43 bc), Roman Orator and Statesman

14 A Very Rare Textile with a Scene of a Woman Opening a Door

15 An Agate Handled Mounted Hunting Hanger

16 Northern British Treen Engraved Wood Folk Art Short Staﬀ

An Elm Shop Sign of Circular Form

An Exceptional Smoker’s Scrimshaw Narwhal Walking Cane

19 A Fine Fijian Chief ’s Yaqona or Kava Bowl

An Anatolian Marble Star Gazer Figure

A Rare Bronze Belt Ornament

A Very Rare Ottoman Shaffron or Chamfron

23 A Fine and Decorative Pair of Rampant Lions

24 A Hellenistic Funerary Stele in High Relief with Two Male Heads

25 A Fine and Rare Silver Mounted Hunting Hanger

A Very Rare and Fine Quiver or Arrow Case

27 A Rare Merovingian Bronze Fish Brooch with Original Garnet and Gold Appliqué Inlay

An Extremely Fine Carved Polychromed Oval Comesso Cameo of Christ

29 A Very Rare Long Maori Paddle Hoe

30 An Extremely Rare and Very Fine Turned Box and Cover with the Tudor Rose attributed to the Master Turner to the Court of Henry VIII

A Fine Rare Portuguese Macao Carved Ivory Devotional Plaque Depicting St Jerome Kneeling Before Christ Crucified Gripping the cross in one hand holding a stone in the other symbolic of his asceticism his hands and feet with the stigmata a sign of his passionate christian devotion his cardinal’s hat and robe hanging in the tree God the Father in the clouds above a lion at the Saint’s feet above him two medieval church towers The scene probably based on a European engraving Portuguese Macao Mid 17th Century s i z e: 12 cm high, 8.5 cm wide, 1 cm deep – 4¾ ins high, 3¼ ins wide, ½ ins deep p rov e na nc e: Ex Private collection of the Berkeley Family, Spetchley Park, Worcestershire, catalogued in a 1949 inventory as A Carved Panel (4¾’ x 3½”) of St Jerome Kept in the Strong Room c f: Asian Civilisations Museum Singapore for a similar Jesuit plaque depicting St Jerome painted in bright polychrome (no. 2011– 01507) i vory ac t 2018: A certificate for a pre-1918 item of outstandingly high artistic, cultural or historical value. Certificate number: URR59K10, date: 01/06/2023 In 374 a d St Jerome became seriously ill in Antioch and two of his travelling companions died. In this state he dreamt that he appeared before God’s judgement seat and was condemned for being a Ciceronian rather than a Christian. He took this experience

very seriously and became a hermit in the desert of Chalcis in Syria for five years. He gave up the Classics he knew and loved and learnt Hebrew in order to study scripture. Proficient in both Greek and Hebrew, he went on to complete the enormous task of producing a standard Latin text of the Bible which he revised according to the meaning of the original texts. He then began to translate the Gospels and the Psalter and over time produced all, or nearly all, of the Bible in what became known as the Vulgate version. A passionate and devoted Catholic scholar, St Jerome had a difficult temperament and a sarcastic wit, but it has been said of him that his immense learning was unmatched by any other Christian writer except St Augustine.

A Fine Mesopotamian Eye Idol Red Quartzite Northern Mesopotamia Circa 3200 bc s i z e: 3.5 cm high, 3 cm wide, 2 cm deep – 1½ ins high, 1¼ ins wide, ¾ ins deep p rov e na nc e: Sold Pierre Berge, Paris, 27th–28th October 2006, lot 484; property of a Private Foundation Ex Rupert Wace Ancient Art Ltd, 2018 Ex Private collection l i t e r at u r e: A larger terracotta version is in the Louvre, Paris (collection number AO30002) Carved from a red quartzite, the body of ﬂattened bell shaped form, topped with a pair of oversized eyes formed of two hollow rings.

So-named for the disproportionate size of the eyes and the eye imagery found in the decoration of the temple of Tel Brak where many were found, these simple but beautiful idols represent the human figure.They were left as votive offerings in the temple, probably intended to symbolise the donor dedicating their offering in thanks or appeal to the gods. Their simple abstraction lends them a contemporary and modern feel.

3 A Fine Large Wedgwood Black Basalt Library Bust of the Ancient Greek Epic Poet Homer Impressed Wedgwood Mark 1780–1812 Early 19th Century s i z e: 59 cm high – 23¼ ins high p rov e na nc e: Ex Finch and Co, catalogue number 19, 2012 Ex Private English collection Homer, Greek author of the Iliad and the Odyssey, is traditionally thought to have lived around 950 bc . Most representations of him seem to be based on a bust in the Naples Archaeological Museum. Wedgwood obtained a plaster cast of this bust from Hoskins and Grant, moulder and caster in plaster to the Royal Academy, and it was produced in black basaltes, after William Hackwood had worked on it, in two sizes in 1775. Josiah Wedgwood had a high regard for Hackwood’s modelling and wrote to Thomas Bentley in 1776 wishing they had half a dozen Hackwoods.

It was deliberate policy on Wedgwood’s behalf to make his pottery considerably cheaper than marble and much more durable than plaster, and when given a slightly polished surface it was as attractive as either, and also a rival to any ﬁnely worked bronze.

4 A Fine Silver Mounted Hunting Hanger The pommel mounted with a silver gilt recumbent lion Steel, silver, agate, leather England Late 17th Century s i z e: 74 cm long – 29¼ ins long / 77 cm long – 30¼ ins long (with leather scabbard) p rov e na nc e: Ex Private collection c f: For two similar hunting hangers see Finch and Co, catalogue number 25, winter 2015, item number 37 a. and b. The hunting hanger was also a status symbol. Sometimes their ivory or agate handles would be richly embellished with jewels proudly displayed in sets of engraved steel hunting accessories and worn at the belt by European princes. Hunting and forestry oﬃcials could be distinguished by the design of their hunting swords and their manner of wearing them. Swords with cross guards and slightly curved blades were used by hunters of lower game whose task it was to cut up the carcasses.

5 An African Sande or Bundu Mask Attributed to the Sogande (or Su Gande) workshop, Kenema Rich dark brown, treacly overall patina Wood Mende Sierra Leone / Liberia 20th Century s i z e: 45 cm high – 17¾ ins high

p rov e na nc e: Ex Private London collection The women’s Sande, or Bundu, society, which can be found in Liberia and Sierra Leone, traditionally initiated young girls into womanhood by preparing them for marriage, family life, and participation in the female sphere of community life. Upon the time when they were deemed ready, the society leader would introduce the adult women to the wider community. The water spirit and guardian deity of the Sande society was channelled through the leader, wearing a costume, including a wooden helmet mask, embodying the aforementioned sowei. Although in most societies, only men would carve and wear masks, Sande masks are an exception, exclusively being worn by women; however, the male members still carved the masks. It is surmounted by an elaborate hairstyle, typically worn by the women during the mid 20th century. A high forehead crowns the downcast eyes, and the partly closed mouth signiﬁes a silence and inner spiritual concentration. The mask is a powerful conduit to represent the female perfection and personiﬁes women’s power. l i t e r at u r e: S.A. Boone, Radiance from the Waters: Ideals of Feminine Beauty in Mende Art, New Haven and London, Yale University Press, 1986 R.B. Phillips, Representing Woman: Sande Masquerades of the Mende of Sierra Leone, Los Angeles, UCLA Fowler Museum of Cultural History, 1995

An English Scrimshaw Decorated Tooth Signed: Waite Whale tooth, ﬁne glossy patina

Britain 19th Century s i z e: 18.5 cm long – 7¼ ins long p rov e na nc e: Ex Private English collection To one side, a depiction of the Foxhound sailing with full sail on calm seas, a polychromed decorated ﬂag to the stern. To the reverse, the same ship in stormy seas, signed to the bottom left corner of the portrait: Waite.

7 A Rare and Fine Pair of Japanese Export Lacquer Portrait Medallions on Copper Decorated in Gold Hirahaki-E and Kinji on a Roironuri Ground Depicting Roman Emperors Lacquer, metal, gilt Japan Late 18th Century s i z e: approx: 12 cm high, 9.5 cm wide – 4¾ins high, 3¾ ins wide (each) 14 cm high – 5½ ins high (with ring) p rov e na nc e: Ex American Private collection Ex Finch and Co Ex Private collection s e e: Finch and Co catalogue no. 17, item no. 37, for two other examples Oliver Impey and Christiaan Boorg, Japanese Export Lacquer, 1580–1850, 2005, Amsterdam, Hotei Publishing, 2005, pp. 49, 50, 51 and 216 for similar examples of oval medallions from the 1780s These portrait medallions were made by Japanese craftsmen in Sasaya, Japan under the direction of the Dutch East India Company expressly for export to the European market. All executed more or less in the same style and technique, they form part of several series of portraits depicting

famous historical personalities. The Japanese lacquerer ﬁnely and carefully copied prints from L’Europe Illustrée compiled by Dreux du Radier in six volumes between 1755 and 1765 and published in Paris. It contained 593 depictions of famous people from the early Middle Ages to the mid 18th century engraved by diﬀerent artists who would often use earlier prints, drawings or paintings as their models.

ear) of a tapering circular section. The guard retaining the majority of the original gilding.

A Fine and Rare English Silver Mounted Hanger Indistinct silver hallmarks for 1691 Silver, gilt, steel, agate England Late 17th century s i z e: 58 cm long – 22¾ ins long p rov e na nc e: Ex Private English collection, Mrs How, renowned silver dealer Ex Private collection c f: The T and dagger mark was granted to Gyles Lyndesey of the London Cutlers Company on 6 February 1677. See: Keith Hinde and John Herbert, The Collections of the Worshipful Company of Cutlers of London: Part One: London-Made Knives and Their Marks, London, New Generation Publishing, 2005, p.52

A Rare and Finely Detailed Greek Bronze Statuette of an Actor with Large Phallus Bronze Greek First half of 4th Century bc s i z e: 10.5 cm high – 4¼ ins high p rov e na nc e: Ex Private collection Canterbury, Kent, UK Thence by descent to the father who in turn passed the figure on, amongst a collection of antiquities, to the uncle of the last owner in the 1960s c f: For a similar bronze figure see: Webster, T.B.L, Monuments Illustrating Old and Middle Comedy, London, 1978, pp. 58–59 AT22f l i t e r at u r e: M. Bieber, The History of the Greek and Roman Theatre, Princeton, Princeton University Press, 1961, pp. 45–48, n. fig. 198, and A.D. Trendall and T.B.L. Webster, Illustrations of Greek Drama, London, Institute of Classical Studies, 1971, p. 127, pl. IV, 9, n. 20.

The curved saw-back blade double edged at the point, depicting faintly engraved foliage and deeply struck with a profile head mark on both sides of the forte, one side with the copper-filled mark of Gyles Lyndesey, a dagger over T. The hilt is finely engraved with foliage comprising a short rear quill with rounded terminal cast and chased with a horseman against a stippled ground, shell sideguard within a loop linked to the knuckle-guard, the former with a profile bust of a Roman emperor. The eared agate grip (chip to one

This amusing and finely detailed figure probably dates from the beginning of the 4th century bc , possibly after the last works by Aristophanes. The comic mask was certainly used up to around 330 bc after which Meander changed the nature of Athenian comic theatre creating the New Comedy. The short sleeved tunic is fastened at his left shoulder, indicating a person of inferior rank. Wearing his comic mask with gaping mouth would indicate the actor is in full flow, with his arms in an animated theatrical pose. The

comedic nature of his act is further accentuated by the absence of his tights and the shortness of his tunic, revealing his genitals beneath his rounded stomach, for all to see.

A Finely Carved High Relief of St John Shown holding a candle together with a book Superb colour and patina Oak England 17th Century s i z e: 32.5 cm high, 30 cm wide, 11 cm deep – 12¾ ins high, 11¾ ins wide, 4¼ ins deep St John the Apostle, one of the first generation of leaders of Christians, is often considered the most important person after Jesus in the history of Christianity. John’s own Gospel refers to him as the disciple whom Jesus loved (see John 13:23; 19:26; 20:2), the one who reclined next to Jesus at the Last Supper, and the one to whom Jesus gave the exquisite honour of caring for his mother, as John stood beneath the cross: Woman, behold your son… Behold, your mother ( John 19:26b, 27b). Carved from English oak in high relief, St John looks restful; he gazes to his right, wearing a long billowing cloak. The sensitivity of the carving and delicacy of the fingers holding the candle, together with the downturned expression on John’s mouth, present us with a mournful feeling to this carving, in contemplation perhaps of the moment when Jesus was crucified.

A Very Fine Set of Persian Chiselled Armour Steel, gold, gilt, mail; iron and brass, leather Dated 1797 Persia Late 18th Century s i z e: helmet: 70 cm long – 27½ ins long / shield: 38.5 cm dia. – 15¼ ins dia. / arm guard: 35 cm long, 9 cm wide (max) 4 cm deep – 13¾ ins long, 3½ ins wide (max) 1½ ins deep p rov e na nc e: Ex Paul Collection, Berlin, formed prior to 1945 Sold Hermann Historica, Munich, 36th auction, 1998, lot 423 Ex Private collection The three-piece set comprising of a helmet Kulah Khud, a shield Sipar and a forearm guard Bazu Band. The skull of the helmet hammered in one piece in wootzDamascus (also known as seric steel), a crucible steel characterised by a pattern of bands with a high carbon context. The technique ﬁrst originated in the mid 1st millennium bc in southern India. The riveted crown plate also made of woozt together with the adjustable nasal bar. The skull with chiselled decoration, depicting hunting and animal scenes. A continuous band of brass-inlaid calligraphic cartouches running around the lower edge, dated 1115 Islamic calendar year (1797 ad) next to the nasal bar. Of particular note is the exceptional aventail (from the French) or mail, attached to the helmet, made from iron and brass rings†, placed end to end. The domed shield made from wootz-Damascus with an oﬀset edge and four shield bosses. Chiselled hunting decoration with calligraphic cartouches to the outer

rim, surrounded with tendrils of inlaid gold. The original lining complete with brownish velvet, straps and polished leather. The matching forearm guard made of wootz-Damascus with chiselled hunting decoration and an ornamental gold inlaid edge. † The technique of creating patterns by combining rings of diﬀerent metals ﬁrst occurs in mail shirts of the 16th century, such as an example in the Military Museum, Istanbul (inv. no. 2767). It became especially popular in India and Iran during the 18th and 19th centuries.

A Rare Adelie Penguin Egg from the Australian 1911–14 Expedition Egg, paper, wood Adelie Land, Antarctic Early 20th Century s i z e: 7 cm high, 5.5 cm dia. (max) – 2¾ ins high, 2¼ ins dia. (max) p rov e na nc e: F.H. Bickerton Ex Private collection c f: An old note reads: 9, Osborne Place, Plymouth. Adelie Penguin Egg from Adelie Land, Winter ( … ?) of Australian Antarctic Expedition 1911–14. F.H. Bickerton. The egg inscribed in pencil: Adelie Penguin Expedition 1911–14 F.H. Bickerton For another egg, from the Terra Nova expedition, see: Sotheby’s, Travel, Atlases, Maps and Natural History auction, November 2022 The Adelie penguin Pygoscelis adeliae is a species found along the entire coast of the Antarctic continent, the only place where it lives, together with the emperor penguin, the most southerly distributed of all penguins. The Australasian Antarctic Expedition (1911–14) was the

first Australian led expedition to the Antarctic. Headed by Douglas Mawson, they explored the largely uncharted Antarctic coast due south of Australia. Francis Howard Bickerton (1889– 1954) was an explorer, soldier, entrepreneur, big game hunter, aviator and film maker. Not only did he contribute to the Australian Expedition, he was later recruited by Sir Ernest Shackleton’s Endurance expedition. Apart from collecting this rare egg specimen, the expedition also discovered the Adelie Land Meteorite, which identified the Antarctic region as the richest meteorite field on the face of the planet. Without doubt, Bickerton’s life and career, wartime antics, hunting expeditions, explorations, business investments and party-going in London in the 1920s were those of legend. Vita Sackville-West fell passionately in love with Bickerton and asked him to become the father of her child (an honour which he declined); however, she did take Bickerton as the model for Leonard Anquetil, the hero in her best novel, The Edwardians (1930).

13 A Wedgwood Black Basalt Library Bust of Cicero (106–43 b c ) Roman Orator and Statesman Impressed Wedgwood and Cicero to the reverse England Circa 1780–1795 s i z e: 29 cm high – 11½ ins high The production of basalt busts by Wedgwood was ﬁrst undertaken in 1770–71 and the demand for them became considerable. One order from Dublin requested over one hundred. A basalt bust of Cicero was produced from a cast supplied by Hoskins and Grant in 1775.

14 A Very Rare Textile with a Scene of a Woman Opening a Door Chain embroidery on damask China Late 5th century ad s i z e: 26 cm high, 30.5 cm wide – 10¼ ins high, 12 ins wide p rov e na nc e: Ex Private collection Ex Francesca Galloway Ltd, 2003 Ex private collection no t e: radio-carbon date: 546–665 a d The importance of silk in Chinese culture is attested by the attribution of its legendary discovery to the consort of the Yellow Emperor, the founder of Chinese civilisation. Sericulture, the rearing of silkworms for the production of silk ﬁlament, was the invention of Neolithic farmers living along the Huang Ho in north central China more than 4000 years ago. Through the centuries the state encouraged sericulture by making taxes payable in silk. The state controlled production to ensure the prestige of silk and to make its use an Imperial prerogative, demonstrating the special status of the aristocracy. Fine silk garments and furnishings marked special occasions in life and were often interred with the dead. The Chinese art of silk and its production remained a closely guarded secret for over 3000 years. Its manufacture in a number of centres distributed throughout the Empire was one of the mainstays of the pre-modern Chinese economy, second only to agriculture in its value to the state and in the number of families for which it provided a means of

support. Silk was also one of the first of China’s luxury products to be exported in large quantities both along the Silk Road and by sea to the rest of Asia. Silk textiles were one of the major lures which brought merchants from the Islamic and Indian worlds, as well as from Japan, to the ports of China and they were eagerly sought after by the first European merchants to reach Canton, which was also the centre of a major weaving region. To the ancient Romans, China was the land of silk and during the Roman Empire it was imported exclusively from the East. It represented extreme refinement and luxury and became so desirable that the wearing of silk provoked a strong reaction from Senators who believed it to be a sign of decadence and a drain on the economy.

15 An Agate Handled Mounted Hunting Hanger With an engraved hunting scene to the blade Steel, agate England Late 17th Century s i z e: 55 cm long – 21½ ins long p rov e na nc e: Ex Private collection c f: For two similar hunting hangers see Finch and Co, catalogue number 25, winter 2015, item number 37 a. and b. Coming from the Dutch word Hangher hangers were a type of short sword hung from a belt. No other European hunting blade has experienced such a comprehensive cultural and artistic development. Until the end of the Middle Ages weapons used on the battleﬁeld and those used for hunting were very similar, but with the spread of ﬁrearms in the Renaissance

weapons of war rapidly became very diﬀerent.

Northern British Treen Engraved Wood Folk Art Short Staff Decorated with fantastical animals and birds including a squirrel, horses, a cat, stylised figures, fish, pot plants, hearts and to the knop two sun faces and a moon face Yew wood or Hedgerow wood England Dated 1791 s i z e: 69.5 cm long – 27¼ ins long During the long winter months, before the coming of electricity, there was little work that could be done outside in Northern Britain. Woodworking tools provided men with indoor work whilst women sat at looms, spinning wheels, and doing lace or needlework. With so many hours compulsorily spent indoors time is often of even less account than material; in consequence each man developed the patience to create for the farm and home a wealth of objects in accordance with his taste and skill.

17 An Elm Shop Sign of Circular Form With black painted inscriptions Wood, pigment, iron Japan Late 18th / Early 19th Century s i z e: 69.5 cm high, 63.5 cm dia. – 27½ ins high, 25 ins dia. The simplicity of this circular Japanese shop sign, with a plain iron hook, cannot be overstated. Originally displaying Japanese characters to both sides, with the name of the shop and or profession of the owner, now long since faded. Weathered original patina to the surface with a deep glossy colour.

An Exceptional Smoker’s Scrimshaw Narwhal Walking Cane Engraved to the silver snuff box: John Holland Potter and to the silver collar: G. Vickers, Sheffield Narwhal, walrus, silver, tortoiseshell, bamboo, metal Fine colour and patina Hallmark 1827/8. Maker’s mark I T probably for Joseph Taylor Britain Early 19th Century s i z e: 89.5 cm long – 35¼ ins long p rov e na nc e: Ex Private Scottish collection This extraordinary fully worked and fluted narwhal tusk walking cane has multiple uses, though firstly being a most elegant gentleman’s walking cane made from one of the most sought after materials in the first half of the 19th century. The owner would keep his snuff in the silver container housed within the walrus handle; whilst visiting a tavern he could then unscrew the handle to reveal a long bamboo stem, which he could attach to a clay pipe-head bowl to smoke his tobacco, purchased directly from the landlord. These pipe bowls were often then dispensed with, as they were produced in vast quantities. One should also take note of the engraved name; it has been suggested that Mr John Holland was in fact a factory owner – Potter being his profession, rather than a double-barrel name? At Airy Hill, near Whitby, the former home of Admiral Moorsom, Commander of the Revenge at Trafalgar in 1805, there are two pillars built from twelve narwhal tusks brought to the port of Whitby, where the whaling fleet had been active since 1753. The narwhal is an Arctic whale growing up to five metres long, a

relative of the white beluga whale, but it is too small and without enough blubber for it to have been hunted commercially by the whaling ﬂeets of the 19th century. However, the scrimshanders prized the marine ivory tusk and often traded for them with the Inuit Eskimos, who traditionally took narwhal for their meat, oil and tusks which they made into harpoon shafts.

19 A Fine Fijian Chief ’s Yaqona or Kava Bowl Carved of vesi wood with traces of old residue deposits, with old fibre tribal repair Wood, fibre Fiji 19th Century s i z e: 14 cm high, 42.5 cm dia. – 5½ ins high, 16¾ ins dia p rov e na nc e: Ex Pitt Rivers collection, Farnham Sotheby’s London Ex Private collection, Felicity Nicholson Ex Forge and Lynch Ltd, London, 2017 Ex Private London collection Kava is a ritual drink made from an infusion of grated, chewed or pounded dried roots of Piper methysticum, a species of pepper plant. It is a preparation drunk on many Pacific islands and the drinking of Yaqona, as it is called on Fiji, continues to be one of the most significant ceremonies performed in Fijian society. The bloom on this kava bowl was achieved by allowing the Yaqona to stand in the bowl and coat the surface. The resulting layer or kani could then be scraped off and reused to make a more powerful version of the drink.

An Anatolian Marble Star Gazer Figure Marble Anatolian Early Bronze Age / Circa 2700–2100 bc s i z e: 5 cm high, 3 cm wide – 2 ins high, 1¼ ins high p rov e na nc e: Private UK collection, acquired 1970s to 1990s Ex Rupert Wace Ancient Art Ltd, 2017 Ex Private collection l i t e r at u r e: For a similar complete example see Jurgen Thimme, Kunst und Kultur der Kykladeninseln im 3. Jahrtausend v. Chr., Karlsruhe, 1976, no. 563, ill. p. 403, and Oscar White Muscarella (Ed.), Ancient Art: The Norbert Schimmel Collection, exhibition catalogue, Metropolitan Museum of Art, New York, Mainz, 1974, no. 8. The highly stylised oval head with two small ears and long nasal ridge leans slightly back. A short neck to broad rounded shoulders, deep oblique grooves delineate the arms at the back, with the forearms bent upwards at the elbow to give them a wing-like appearance. The ancient kingdoms of Anatolia occupied most of what is now modern Turkey. An area referred to as the ancient Near East, it is considered one of the cradles of civilisation. It was here that intensive agriculture was ﬁrst practised and this led to the rise of dense urban settlements, the development of centralised government, and organised religion and warfare. It also saw the creation of the ﬁrst currency anywhere in the world, and codes of law. Early advances were made that laid the foundations of astronomy and mathematics and the invention of the wheel.

A Rare Bronze Belt Ornament Depicting a horse being attacked by a tiger Rich dark brown glossy patina Bronze China / Ordos Region, Mongolia Circa 300 bc s i z e: 7.5 cm high, 11 cm wide – 3 ins high, 4¼ ins wide p rov e na nc e: Ex Rupert Wace Ltd, Grosvenor House Antiques Fair, 2002 Ex Private collection To the north and along the western perimeter of the main Chinese settlements of the pre-Han and Han dynasty (3rd to 1st centuries bc ) lived a nomadic peoples whose cultures were diﬀerent from those of their Chinese neighbours. Numerous belt plaques, horse-gear and weapons depicting animals, often in combat, were produced in the region and throughout the period. During the Han dynasty (206 bc –220 a d) the Chinese made treaties with the Xiongnu peoples who dominated the Mongolian and Ordos area at the time. Many of the surviving animal bronzes were made by the Xiongnu. Their tombs at Noin Ula, Mongolia, were found to contain many Chinese items, such as silk and bronze mirrors, besides their own bronze plaques and ornaments.

A Very Rare Ottoman Shaffron or Chamfron Formed from a single piece of steel, boxed over each side of the muzzle, ﬂanged around the eyes and ears, and widening across the forehead, the latter embossed with a pair of broad curved ﬂutes, the lower ones extending along most of the length of the muzzle, the forehead incised with a shaped cartouche of quatrefoil form enclosing

foliage and a panel inscribed The Sultan against a ground of arabesques Steel Turkey or Anatolia Early 16th Century s i z e: 53 cm long, 20 cm wide (max) 6 cm deep – 21 ins long, 8 ins wide (max) 2¼ ins deep p rov e na nc e: Stamped with the so-called Turkish Ottoman Arsenal mark, indicating that the Shaffron was captured by Ottoman forces, and subsequently stored in the Turkish arsenal in Constantinople (Istanbul) Ex Noble Austrian Private collection Sold Hermann Historica, Munich, 16th October 2012, lot 857 Ex Private collection s e e: For other related examples in the Furusiyya Art Foundation Collection see: Mohamed Bashir, The Arts of the Muslim Knight, 2007, pp. 340–341, no. 326–327 (illustrated); and in the Nasser D. Khalili Collection of Islamic Art series, David Alexander, The Arts of War, vol. XXI, 1992, pp. 88–89 and 93–94, no. 41, 44 and 45 (illustrated); and for a Shaﬀron of very similar form formerly in the Collection of George Cameron Stone and now in the Metropolitan Museum of Art (inv. no. 36. 25. 510) see David Alexander, Islamic Arms and Armor in the Metropolitan Museum of Art, 2015, pp. 128–129, no. 47 Shaffron or Chamfron of this type were used in the area covering Aq-Qoyunlu, Iran and the Ottoman Empire. The muzzle on our example is incised with three further lobed cartouches each incised with a symmetrical design of interlaced arabesques and palmettes against a ﬁnely punched ground, and with a half cartouche at the base, the edges bordered by small holes for an inner lining and probably also for fringed mail or

cheek and neck defences. During the late fourteenth and fifteenth centuries the development of armour designed for horses in tournaments witnessed the distinctive type of shaffron we know today, although originally made of leather. Horse armour continued to enjoy high demand, with full bards remaining common until around 1550, as long as the heavy cavalry was still armed with the traditional lance. Another vogue that appeared during this time, inspired by the continuous contact, either hostile or otherwise, between Europe and the Ottoman Empire, was a taste for all things deemed oriental. That fashion influenced court life, evident by the luxurious Turkish tournaments which were held in the Habsburg court. Participants were dressed in the Ottoman style including turbans, pointed helmets, long kaftans and carrying Turkish sabres and shields. Some of those arms and armour had previously been acquired as gifts, trade items or war booty from the Turks.

23 A Fine and Decorative Pair of Rampant Lions With scrolling foliate supports, raised upon ﬂoral stepped bases Wood, polychrome, gilt Anglo-Indian Mid 19th Century s i z e: 89 cm high, 26 cm deep, approx. 50 cm wide – 35 ins high, 10¼ ins deep, approx. 19¾ ins wide p rov e na nc e: Ex Private English collection Probably from a huge armorial device or building pediment. The carvings with remnants of their original polychrome. The tightly grained heavy wood typical of many of the carvings from the Indian subcontinent.

24 A Hellenistic Funerary Stele in High Relief with Two Male Heads Marble Greek Hellenistic Circa 2nd Century b c s i z e: 20.5 cm high, 38 cm wide, 11 cm deep – 8 ins high, 15 ins wide, 4¼ ins deep / 25.5 cm high – 10 ins high (with base) p rov e na nc e: Ex Private collection, Paris, France, acquired early 20th Century Originally encased in an Art Deco plaster display mount with a grey polished surface Ex UK collection The fragment is probably from the upper part of a sizeable marble funerary stele. Decorated in high relief with two male heads. The head shown to the right depicts a youth gazing slightly outwards, while the head to the left depicts a man gazing upwards towards the youth. We can look at the scene as one of mourning, with the older man showing his respect and grieving the younger youth.

25 A Fine and Rare Silver Mounted Hunting Hanger Displaying a blackamoor head to the pommel Steel, silver, stag horn England Late 17th Century s i z e: 61 cm long – 24 ins long p rov e na nc e: Ex Private collection The blackamoor was a familiar subject in European decorative art, and can be found in jewellery, sculpture and decorative arts, including furniture, and in this case armour. The ﬁgure is shown blowing a trumpet, forming part

of the guard, and was possibly a known musician in an English court or country house.

A Very Rare and Fine Quiver or Arrow Case Wood, metal, polychrome; red and teal, gilt Venice or Ottoman Empire 17th Century s i z e: 66 cm high, 11 cm wide, 6 cm deep (max) – 26 ins high, 4¼ ins wide, 2¼ ins deep (max) p rov e na nc e: Ex Private collection Vienna Ex Private collection no t e: For an example of an Ottoman quiver / arrow case dated to the late 16th century with a removable lid, painted in red and green with gilt (inventory of the vault under the New Cabinet, 1727, cabinet no. 6, no. 499. catalogue; Ingolstadt, 1979, p. 133, no. 78), Exhibition catalogue, Schloss Friedrichstein, Kassel, Germany. The rarity of our quiver case is evident in that so far only one other example has been found, in the Schloss Friedrichstein collection mentioned above. Our attribution to either Venice or the Ottoman Empire can be intertwined of course; both places inﬂuenced each other with designs, together with a movement of craftsmen in either direction, during the ﬂourishing creativity and explosion in making of arms, armour and their associated pieces during the Renaissance. The case has an attachment to the reverse for hanging from a belt or more likely a shoulder strap.

27 A Rare Merovingian Bronze Fish Brooch with Original Garnet and Gold Appliqué Inlay Bronze, gold, garnet, coloured glass France

6th – 8th Century a d s i z e: 2 cm high, 6 cm wide, 1 cm deep – ¾ ins high, 2¼ ins wide, ¼ ins deep p rov e na nc e: Ex Adolphe Stoclet (Belgium 1871–1949) Thence by descent to a UK family member The Merovingian dynasty (5th century to 751 a d ) grew out of the Roman army of northern Gaul, who united the Franks and GalloRomans under their rule. Their landmass extended from Germany in the east to Spain and from Italy in the south to Flanders in the north. Of course the emergence of these countries came later, during the Middle Ages, emerging from the ruins of the Roman Empire. Fibulae, brooches, buckles and repoussé decorations formed an important part of Merovingian dress, with the more elaborate and precious materials worn by those of high rank. The craftsmen were so highly regarded that the glass makers and stonemasons were brought to Britain, where certain skills had been lost since the fall of the Roman Empire, including that of glass-making!

An Extremely Fine Carved Polychromed Oval Comesso Cameo of Christ Contained in an oval velvet lined leather box Signed: Lament Shell, mother-of-pearl, leather, velvet France Circa 1850 s i z e: 4.5 cm high, 3.7 cm wide – 1¾ ins high, 1½ ins wide p rov e na nc e: Ex Private collection s e e: For another cameo signed by Lament, contained in a Victorian gold frame, see: The Fitzwilliam Museum collection, accession number M.24-1984

Christ is shown with a contemplative downward gaze, wearing a crown of thorns. His left hand holds a staﬀ, close to his chest. The word comesso, also referred to as Florentine mosaic, is the practice of piecing together cut sections of semi-precious stones, gems and, in this case, shell to form intricate and meticulously crafted works of art.

A Very Long Maori Paddle Hoe Wood Maori / New Zealand Late 18th / early 19th Century s i z e: 217 cm long – 85½ ins long p rov e na nc e: W.D. Webster, Bicester, no. 1307 Lt. Gen. A.H.L.F. Pitt-Rivers, acquired from the above 1897 Sotheby’s, London, 27th February 1978, lot 53 Ex Peter Adler, London Ex Private collection l i t e r at u r e: Pitt Rivers Ledger, add. 9455, vol. 8, p. 2248

An Extremely Rare and Very Fine Turned Box and Cover with the Tudor Rose attributed to the Master Turner to the Court of Henry VIII Engine turned with a fine colour and patina Ivory Tudor Court of England Late 16th Century / Circa 1540–60 s i z e: 3.2 cm high, 5 cm dia. – 1¼ ins high, 2 ins dia. p rov e na nc e: Ex Private English collection, purchased in the 1970s i vory ac t 2018: A certificate for a pre-1918 item of outstandingly high artistic, cultural or historical value. Certificate number: X68YU8H9, date: 24/05/2023 c f: For a very similar turning see: Ivory turned case housing a miniature of Anne of Cleves by Hans Holbein, 1539, Victoria and Albert Museum, London

A ﬁne and very long paddle, probably made for an important war canoe. With a carved protective ancestor stylised tiki ﬁgure to the butt. On the blade we can see Webster’s collection number: 1307; and to the reverse impressed initials formed from a branding iron or stamp with the initials of the new owner or sailor who would have deposited the paddle in the ship’s hold during the long voyage back to Europe.

Only two artefacts, other than miniature cases, seem to have survived from the Tudor period. The ﬁrst is the Parker Box now housed in the V&A Museum, London. Archbishop Matthew Parker was head of the newly formed Protestant Church of England between 1559 and 1575, who gave the box, together with its companion jewel depicting Venus and Cupid at the Forge of Vulcan, to Queen Elizabeth I,

daughter of Henry VIII and Anne Boleyn. Parker had previously been chaplain to them both. It has been suggested that before Anne Boleyn was beheaded by Henry VIII in 1536, the jewel and case, having been made for Anne, and designed by Holbein who was by trade a jeweller, she passed the box to her chaplain at her execution, to be held in trust for her daughter. When Parker later became Archbishop of Canterbury, he passed the box to Anne’s Protestant daughter, Elizabeth. There appears to be a transition from the Master, who created these small boxes and miniature cases within the Tudor Court between the 1530s and 1560s using the original royal turning lathe, to a subsequent turner or turners who, although continuing the tradition throughout the later 1500s and into the early 17th century, never achieved the same intimate delicacy as the Master. By the 1620s ivory, a highly valuable commodity at the time, had been replaced by Lignum Vitae, a very durable and dense wood, which will sink in water, becoming a very popular material for turned boxes, candlesticks, cups and vessels throughout the 17th century. Lignum, like tobacco, had been introduced to Europe in the 1560s. The pinnacle and height of the fashion for these dark turned artefacts came during the reign of Charles I and under Cromwell’s Commonwealth.

Design by Prof. Phil Cleaver & Yasmin Sung of etal-design, etal@etal-design.com Photography by Phil Connor, phillip_connor@icloud.com Endpapers © Marta Gussetti, contact@ﬁnch-and-co.co.uk Printed and bound in Great Britain by Pureprint © 2023 Finch Co i s b n 978-1-912930-63-0 No part of this publication may be reproduced, stored or transmitted, in any form or by any means, without the permission in writing of the publisher.