November 2022 Auction - TimeLine Auctions

Ekrem Akurgal (1911-2002)

Ekrem Akurgal was a Turkish archaeologist who enjoyed an illustrious career spanning more than fifty years. One of the most prominent archaeologists of the 20th century, Akurgal is renowned as the father of Anatolian archaeology and the man who, together with his students and the educational institutions he founded, brought much of the history of the civilisations of Anatolia to light.

Born in Tulkarm in 1911 in what was then the Ottoman Empire, Ekrem moved to Istanbul with his family when he was two years old. He was descended from a line of intellectuals and religious men, some of whom had assumed the office of mufti, the highest title of the Islamic clergy. In 1935, when surnames were required in Turkey, Ekrem and his father chose ‘Akurgal’ after the legendary king of Sumer. He attended school in Istanbul, where he learned the Arabic script which he later used for his excavation field notes.

In 1932 Ekrem won a scholarship to the University of Berlin in Germany, where he studied Greek art and sculpture from 1933-1940, and was mentored by a pantheon of influential figures including archaeologist Gerhard Rodenwaldt. His subsequent career was largely spent at the University of Ankara (1941-1981) where, in 1957, he became ordinarius professor, a title of great distinction. In 1969, he was elected a Fellow of the British Academy.

Ekrem Akurgal’s first excavation in Turkey was conducted in 1945 for the Turkish Historical Society. He excavated at Old Smyrna between 1948-1952 in collaboration with the British School of Archaeology at Athens, and again from 1967 onwards. Other successful excavations included Sinope (1951-1953); Cyzicus (19551957); Daskyleion (1953-1959), where he unearthed over 400 clay bullae bearing Achaemenid motifs and inscriptions in old Persian and Aramaic, and relief sculpture in the Graeco-Persian style; Phokaia (1953-1956), where he unearthed substantial architectural remains and votive deposits from a major sanctuary; Kyme (1953-1954); Ovabaymdir (1957); Pitane (1958-1965), where he located a cemetery containing undisturbed graves with deposits of Attic, Corinthian, Chiot and other pottery types; Erythrae (1969-1979), and Musgebi on the Halicarnassus peninsula (1963).

Akurgal wrote many books and articles covering all periods of Anatolian history, with an emphasis on the history of art and civilisation. In one of his most important works, Orient und Okzident(1966), Akurgal explored the effects of Eastern art on Western art, a work which stimulated great interest amongst the academic community and was subsequently published in French, Italian and English in addition to the original German edition. From the 1960s onwards, Akurgal appeared in numerous television interviews and documentaries in Britain, France, Germany and Spain.

Ekrem Akurgal passed away in 2002. A fitting obituary was written by his colleague Cosku Ozgunel: ‘Ekrem Akurgal [was] a philosopher who proved with historical and archaeological documents that Anatolian civilisations are the essence and origin of today’s Western civilisation...an archaeologist...deeply devoted to... the fields of archaeology, history and art.’

Dr Raffaele D'Amato

Connecting Collectors with Ancient Art

Since its founding, TimeLine has connected thousands of collectors with ancient art, introducing new enthusiasts to the joy of collecting and providing a platform for established collectors to develop and expand their collections. Through our beautiful catalogues, website, viewing days and rostrum auctions in central London, we invite you to learn about, enjoy and own antiquities from across the ancient world. Our auctions bring together unique pieces from ancient civilisations ranging from Ancient Egypt, Early Medieval Europe and the classical Mediterranean to the ancient cultures of India and Southeast Asia, China and the pre-Columbian Americas.

TimeLine has developed an unmatched network of collectors, dealers, agents and experts to offer you some of the largest collections of ancient art. Each lot in our auction has been expertly researched, catalogued and professionally photographed, supported by TimeLine’s customer satisfaction guarantee. In this process we are proud to draw on the expertise of our consultants and specialists, respected and recognised experts in their fields, to provide our customers with the highest level of service and trust.

For collectors, working with TimeLine is a mutual relationship that grows with every acquisition. Our experienced and passionate staff are committed to bringing ancient art closer to each and every client, regardless of experience and budget, providing them with the opportunity to acquire ancient art with confidence. TimeLine Auctions also provides a comprehensive and confidential selling and valuation service.

ANCIENT

Enquiries

TimeLine Auctions Limited

23-24 Berkeley Square London W1J 6HE, UK Tel: +44 (0)20 7129 1494

Head Office

TimeLine Auctions Limited The Court House 363 Main Road Harwich, Essex CO12 4DN, UK Tel: +44 (0)1277 815121

Website www.timelineauctions.com

Auction

Tuesday 29 November 10am (Day 1)

Wednesday 30 November 10am (Day 2)

Thursday 1 December 10am (Day 3)

Friday 2 December 10am (Day 4)

Saturday 3 December 10am (Day 5)

Viewing

By appointment

Bids

+44 (0)1277

+44 (0)1277

Consignments

+44 (0)1277

Please

Bidding

Heads of Departments

Antiquities: Dr Raffaele D'Amato

Coins: Christopher Wren

Consultants

Professor Neritan Ceka (Ancient Antiquities)

Dr Ronald Bonewitz (Antiquities & Geological)

Dr Manuel Ceccarelli (Western Asiatic Antiquities)

Dr Robert Chandler (Paleontology)

Dr Brian Gilmour (Arms & Armour & General Antiquities)

Dr Ittai Gradel (Classical & General Antiquities)

Dr Malcolm Jones (Medieval & Later Antiquities)

Dr Alberto Pollastrini (Egyptian & Associated Antiquities)

Dr Laura Proffitt (Classical & General Antiquities)

Dr Laura Vigna (Ancient Jewellery, Ceramics & Marble)

Peter Clayton, FCILIP, Dip, Arch, FSA, FRNS (Egyptian)

Richard Falkiner, FSA (Jewellery & General Antiquities)

Michael Howgate, B.Sc. M.Sc. PGCE FLS (Natural History)

Peter Bufton (Far Eastern, Islamic & Ethnographic)

Diana Mroczek, MA (Classical Antiquities)

Stephen Pollington (Anglo-Saxon & Viking Antiquities)

Thomas Sturm, MA (Cylinder Seals)

Richard Roy (Ancient Americas)

Michaela Simonova, MA (Mesoamerica, Viking & Religious)

Amin Rezai (Western Asiatic & General Antiquities)

Mehdy Shaddel (Western Asiatic & Islamic Antiquities)

Paul Whelan, MA (Egyptian Antiquities)

Heather L. Godfrey, MA, FRNS (General Antiquities & Coins)

Stefany Tomalin (Beads & Associated Jewellery)

Dane Kurth (Greek & Roman Coins & Antiquities)

Italo Vecchi (Coins & General Antiquities)

Joseph Hubbard (Natural History)

For

information

see: www.timelineauctions.com

OUR AUCTIONEERS

Live Bidding

Wherever you are in the world, be sure not to miss your favourite lots! You can participate in our auctions easily and securely from your home or office, by bidding live on the internet. All you need to do is register in advance with timelineauctions.com, liveauctioneers.com, invaluable.com or the-saleroom.com.

Using either of these websites, you can:

• See the progress of the auctions, following the bidding lot by lot

• Watch live footage from the auction in progress, listen to the stream live on timelineauctions.com, invaluable.com, liveauctioneers.com or the-saleroom.com

• Bid live in real-time, as though you were in the room

• Log on and bid at any time

• Stay informed of hammer prices and bid increments, and view prices in a range of currencies

Explanation of Symbols

z Lots illustrated on timelineauctions.com but not in this catalogue

Lots accompanied by 360° view or specialist video

C Subject to CITES regulations when exporting outside UK

† VAT payable at 20% on hammer price and buyer's premium

‡ 5% import duty on the hammer price

Ω 20% import duty on the hammer price

Bidding

This is a rostrum auction and there will be live internet bidding through www.timelineauctions.com, www.the-saleroom.com , www.invaluable.com and www.liveauctioneers.com The buyer’s premium is 30% inclusive (live internet bidding is free on timelineauctions.com, additional 5% +VAT is charged on other sites). TimeLine Auctions is not responsible for any missed lots or bids due to network speed or down-time. Bidders are reminded that our website carries high-resolution enlargeable colour images of all of the items illustrated in this catalogue, together with items not illustrated in print. An Absentee Bidding Form can be mailed or emailed, to reach us by no later than 9pm the day before the sale. Alternatively, please register on our website and record your auto bids free of charge via your online account: www.timelineauctions.com Please do not consider your absentee bid form to have been successfully logged unless you have received an acknowledgement from us.

TimeLine Auctions are proud to be members of the Art Loss Register. The Art Loss Register (ALR) is the world’s largest private database of lost and stolen art, antiques and collectibles. All lots with an upper estimate value of £1,000 and above, and ALL Western Asiatic lots, are searched against the Art Loss Register database. This is to ensure that no items that have been reported to the ALR as stolen are offered for sale. The ALR database consists of registrations from law enforcement agencies, insurance companies, the trade and theft victims internationally.

David Palmer

Rob Oulton

Edward Rising

Tim Wonnacott

Chief Executive Officer: Brett Hammond, FRSA

Chief Operating Officer: Aaron Hammond

Anti Money Laundering Officer: Christopher Wren

Head of Administration: Tanja Maijala

Client Account Manager: Lisa Fricker

Admin Assistant: Law Yuen Ying

Auction Administrator: Calum Green

Storage Manager: Vedran Saraden

TIMELINE TEAM

Collection and Storage

Lots will be available to collect from our Harwich premises by prior arrangement only from 5 December 2022. Storage charges may apply from 8 December 2022 for unpaid items, free vaulted storage service is available for all items upon receipt of full payment.

Notice to Buyers

Some lots will require export licences in order to leave the UK, please contact us for advice if required. A condition statement for lots is not given in the catalogue, printed or on-line. This does not infer that any lot is free from faults and prospective bidders must satisfy themselves entirely as to the full condition of each piece before placing bids. Condition Reports may be requested for any lot but are given only for general guidance and are inevitably subjective in character. Requests for Condition Reports should be made as early as possible; requests received at a late time may not be available before the lot is offered. Estimate ranges are provided for general information only and are given in Pounds Sterling (£). For antiquities, approximate equivalents in Euros (EUR) and US Dollars (USD). Hammer prices may fall outside the ranges indicated. All bids and payments must be made in Pounds Sterling (£). Please be aware that items containing restricted animalderived material such as coral or ivory will need a specialist CITES export license to leave the UK.

Lot estimates serve as a pre-sale guide for potential buyers and bidders and cannot, by their nature, serve as an indication of the final hammer price. The final hammer price is not inclusive of buyer’s premium and/or other applicable taxes, which must be added to the final hammer price (see Terms & Conditions for details).

Important Information

Auction lots (or individual item/s within any given lot) of either Persian or Iranian origin are subject to United States trade restrictions which currently prohibit their import into the US, without exception. Buyers should be aware that similar (or other) restrictions may apply to other categories of items offered for sale. It is the sole responsibility of the buyer to satisfy themselves that any lot/s purchased at auction can be legally imported into the desired shipping destination prior to bidding.

We provide service in seven languages.

Auction Security: Secura HQ Ltd.

Auctioneers Edward Rising Tim Wonnacott

Press Desk Tanja Maijala

David Palmer Rob Oulton

Peter Bufton

Catalogue Production & Layout

Damir & Davor Radic DRs d.o.o.

Cataloguers Stephen Pollington Raffaele D'Amato Heather L. Godfrey

Photography & Video Production

Michael Healy, Natalia Wood, Ethan Payne

The Cour t House, Harwich

Antiquities Tuesday 29 November 2022 (Day 1)

10:00 Egyptian Antiquities (Lots 1 41)

Greek Antiquities (Lots 42 71)

Roman Antiquities (Lots 72 112)

Byzantine Antiquities (Lots 113 120)

Wester n Asiatic Antiquities (Lots 121 225)

Chinese & Far Easter n Antiquities (Lots 226 249)

India & Region Antiquities (Lots 250 259)

Ar ms & Ar mour (Lots 260 288)

Stone Age, Bronze Age & Iron Age Antiquities (Lots 289 301) Saxon, Viking & Ger manic Antiquities (Lots 302 319)

Medieval Antiquities (Lots 320 390)

Post Medieval Antiquities (Lots 391 429)

Prehispanic Antiquities (Lots 430 489)

Natural Histor y (Lots 490 500)

Antiquities Wednesday 30 November 2022 (Day 2)

10 00 Egyptian Antiquities (Lots 501 557)

Greek Antiquities (Lots 558 604)

Roman Antiquities (Lots 605 728)

Byzantine Antiquities (Lots 729 758)

Wester n Asiatic Antiquities (Lots 759 799)

13:30 14:00 Lunch

Wester n Asiatic Antiquities (Lots 800 1074)

Antiquities Thursday 1 December 2022 (Day 3)

10 00 Wester n Asiatic Antiquities (Lots 1075 1120)

Chinese & Far Easter n Antiquities (Lots 1121 1231)

India & Region Antiquities (Lots 1232 1311)

Ar ms & Ar mour (Lots 1312 1400)

13:30 14:00 Lunch

Stone Age, Bronze Age & Iron Age Antiquities (Lots 1401 1479) Saxon, Viking & Ger manic Antiquities (Lots 1480 1535)

Medieval Antiquities (Lots 1536 1620)

Post Medieval (Lots 1621 1649)

Antiquities & Natural Histor y Friday 2 December 2022 (Day 4)

10 00 Post Medieval (Lots 1650 1758)

Americas, Prehispanic & Ethnographic Antiquities (Lots 1759 1848) Archaeological Books (Lots 1849 1859)

Natural Histor y (Lots 6000 6099)

13:30 14:00 Lunch

Natural Histor y (Lots 6100 6360)

Coins Saturday 3 December 2022 (Day 5)

10 00 Coins, Tokens, Medals & Books (Lots 8000 8577)

1

1 EGYPTIAN CARTONNAGE PANEL WITH ANUBIS AND HIEROGLYPHS

PTOLEMAIC PERIOD, 332-31 B.C. 8¼ in. (52 grams, 21 cm wide).

A rectangular polychrome painted cartonnage panel, possibly a portion of mummy trapping, with slightly down-turned lower side edges; featuring two rectangular panels displaying confronting images of the jackal-headed god Anubis and surrounding hieroglyphs, central column of hieroglyphs between; all embellished with polychrome geometric borders; mounted on a woven fabric backing for support; pierced for attachment.

£2,500 - 3,500

PROVENANCE

From an early 20th century Home Counties collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114466-196154.

2 EGYPTIAN WOODEN PANEL WITH SACRED COW HESAT

PTOLEMAIC PERIOD, 332-31 B.C. 23¼ x 18 in. (4.2 kg, 59 x 45.5 cm).

A rectangular wooden panel, possibly from a coffin, displaying a finely rendered painting of a cow with distinctive lyre-shaped horns, and a cord hanging from its neck; mounted in a glazed display frame. [No Reserve] £1,000 - 1,400

PROVENANCE

Acquired since the 1980s. From an old private family collection, thence by gift to family members. Housed in a custom-made display frame from the 1970s.

FOOTNOTES

This cow often represented the divine cow Hesat, a manifestation of the goddess Hathor.

19

26

hammer

buyer's

3

Roman Period, c.30 B.C.-3rd century A.D. 30⅛ in. (3.25 kg total, 76.5 cm high including stand).

A substantial polychrome painted wooden coffin panel in two parts, from the chest down to the lower legs: the upper portion gessopainted preserving the outer edge of a decorative collar; a kneeling winged goddess below, most likely Nut, grasping a feather of truth in each hand and wearing a solar disc upon her head, four short vertical columns containing meaningless hieroglyphic inscriptions on a blue background above; the register below showing the deceased in diamond-pattern wrappings, lying on an elaborately detailed leonine bed, attended by the standing figure of Anubis anointing his wrappings; two hawk-headed canopic jars beneath the bed, two more were probably shown on the left; the bed flanked by two composite ankh/djed symbols flanked by short columns of meaningless hieroglyphic inscription on a blue background; behind each of these groups a kneeling goddess in a gesture of mourning: Nephthys largely preserved on the right and traces of the other (possibly Isis) to the

left; three vertical columns of hieroglyphs below, the outer two on blue background and the central one in yellow, a rearing cobra facing the right column; mounted on a custom-made display stand.

£4,000 - 6,000

PROVENANCE

Acquired between the 1950s and 1960s. Dr W. Schirmer collection, Germany. with Bonhams, London, 5 October 2011, lot 41. Property of a S.W. London gentleman. Accompanied by copies of the relevant Bonhams catalogue pages. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114467-195992.

FOOTNOTES

Coffins of this period were often composed of flat panels creating more angular and less naturalistic modelling of the mummiform body shape. At this time, traditional coffin decorations were often inaccurately interpreted and hieroglyphic inscriptions were either garbled or meaningless. A closely comparable example of this type is on display in the Garstang Museum of Archaeology, Liverpool (E.576).

EGYPTIAN WOODEN COFFIN PANEL WITH THE GODDES NUT

4

EGYPTIAN WOODEN BREWING MODEL MIDDLE KINGDOM, 2023-1862 B.C. 12¼ in. (726 grams, 31 cm high).

A wooden model depicting a beer brewer in the process of making beer, composed of a figure with stylised anatomical features standing in a barrel-shaped vat which in turn rests upon a rectangular platform; the male figure with a short wig, painted eye and brow detailing and poseable arms; remains of polychrome pigmentation. £4,000 - 6,000

PROVENANCE

From an early 20th century Home Counties collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114468-196153.

LITERATURE

Cf. Barker, G., Preparing for Eternity, Oxford, 2022, p.43, fig.2.22, for a model scene of brewing and baking from Beni Hasan with a similar figure standing in a vat.

5 EGYPTIAN POLYCHROME LION SUPPORT LATE PERIOD-ROMAN PERIOD, 664 B.C.-323 A.D. 13½ in. (490 grams, 34.5 cm).

A wedge-shaped wooden support or furniture leg carved as the forelegs and head of a lion standing on a column capital, stylised facial features and mane detailing in raised relief, chequered panel to the chest; remains of polychrome pigmentation; rectangular socket to reverse and to one side, the latter with remains of a wooden peg. £1,000 - 1,400

PROVENANCE

French collection, 1990s-early 2000s. Acquired at auction, with tickets to verso: '5428/2557' and '225'. From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE

Cf. The Metropolitan Museum, accession number 1977.170, for a similar example in a different medium; cf. The Royal Ontario Museum, object number 910.37.9.B, for similar.

67

6 LARGE EGYPTIAN WOODEN DIGNITARY FIGURE NEW KINGDOM, 1550-1070 B.C. 17¾ in. (1.1 kg total, 45.2 cm high including stand).

A finely modelled wooden figure of a high official carved in the round, standing facing, with a bald head, naturalistic albeit idealised facial features, wearing a skin-tight civil kilt with large front panel; remains of sockets for the figure's arms (now absent); remains of polychrome pigment; accompanied by a custom-made display base.

£3,000 - 4,000

PROVENANCE French collection, 1990s-early 2000s. with Vermot & Associés, Paris, 7 October 2017, lot 40 (5,000-6,000 Euros). From an important Paris gallery, France. Ex private Parisian collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114469-194059.

LITERATURE Cf. De Marco, A.G., La statuaria lignea nell’antico Egitto: considerazioni a partire da una statua inedita, in Egitto e Vicino Oriente, 43 (2020), pp.53-61.

7 EGYPTIAN WALKING IBIS FIGURE LATE PERIOD-PTOLEMAIC PERIOD, 664-30 B.C. 8⅝ in. (871 grams total, 22 cm wide including stand).

A wood and copper-alloy figure of a sacred (African) ibis (threskiornis aethiopicus) modelled advancing with its left leg positioned in front of its right; surviving polychrome detailing to the body and tail, stylised eye and beak detailing; mounting lugs to base of the feet; accompanied by a custom-made display stand. £2,000 - 3,000

PROVENANCE with Drouot, Paris, c.1990s. From an important Paris gallery, France. Ex private Parisian collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114470-194044.

LITERATURE

Cf. The Metropolitan Museum, accession number 53.185a, for a comparable figure; for a seated ibis figure with similar tail inlay see Settgast, J.,Von Troja bis Amarna, The Norbert Schimmel Collection, Mainz, 1978, no.274.

FOOTNOTES

The ibis represented Thoth, the god of wisdom, knowledge and writing. The general consensus is that the ibis is now extinct in Egypt, with the last confirmed sighting reported in 1891. The dark blue inlay to the tail mimics the dark tail feathers of the sacred ibis.

8

EGYPTIAN GREYWACKE COSMETIC FISH SPOON SECTION

NEW KINGDOM, 1569-1081 B.C. 2¼ - 3⅜ in. (27 grams, 58 mm wide (50 grams total, 85 mm high including stand)).

A fragment of a greywacke cosmetic spoon shaped as a fish with finely worked features and incised eye, scales, gill, and fin detailing; the underside is recessed to create the spoon bowl; accompanied by a custom-made display stand. £400 - 600

PROVENANCE

Acquired in the 1980s. From a French collection.

LITERATURE

See Hodjash, S.I., Ancient Egyptian vessels in the State Pushkin Museum of Fine Art, Moscow, Oakville CT, 2005, p.86, nos.311 and 312, pl.29, for comparable examples.

9

EGYPTIAN MONGOOSE WITH COBRA AMULET

LATE PERIOD, 664-525 B.C. 1½ in. (8.21 grams, 39 mm).

A red-brown glass or faience amulet in the form of a mongoose (herpestes ichneumon) crowned by a cobra, modelled resting on its haunches on a rectangular base, with its forelegs raised in an attitude of adoration; suspension loop to reverse. £400 - 600

PROVENANCE

Acquired prior to 2000. Ex collection Mr. A.K., London, UK.

LITERATURE

Cf. The Brooklyn Museum, accession number 76.105.2, for a mongoose in similar pose; see Houlihan, P.F., The Animal World of the Pharaohs, London and New York, 1996, pp.125-127, for discussion of the Egyptian mongoose and an image of a comparable otter and shrew.

FOOTNOTES

Considered divine due to its ability to kill snakes, the mongoose could represent either the god Horus or Atum, or the goddess Mafdet.

10

EGYPTIAN GLASS FACE INLAY LATE PERIOD-PTOLEMAIC PERIOD, 664-30 B.C. ¾ in. (1.85 grams, 18 mm).

An opaque red glass anatomical inlay formed as the facing head and neck of a man. [No Reserve] £400 - 600

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

11

LARGE EGYPTIAN FIGURE OF ISIS SEATED ON A THRONE 26TH DYNASTY, 664-525 B.C. 5¼ in. (98 grams, 13 cm high).

A very large turquoise-glazed composition statuette depicting the goddess Isis seated on a throne, suckling her infant son Horus, of whom part of the lower torso and delicately modelled hands remain; wearing a throne-shaped crown on her head (the hieroglyphic sign for her name), a tripartite wig fronted by a now absent uraeus, a Broad Collar and a tight-fitting ankle-length skirt; a panel with lotus flowers to the back of the decorated throne. £3,500 - 4,500

PROVENANCE

French collection, 1990s-early 2000s. Ex Brussels Art Fair, 1990s. From an important Paris gallery, France. Ex private Parisian collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 114471-194036.

LITERATURE

Cf. The British Museum, museum number EA63797, for a comparable figure; cf. The Metropolitan Museum, accession number 44.4.21 and 55.121.5, for similar.

13

EGYPTIAN SCARAB WITH CARTOUCHE OF TUTANKHAMUN

18TH DYNASTY, 1335-1325 B.C.

1 in. (9.23 grams, 24 mm).

A carnelian scarab with naturalistic detailing to the carapace, head and legs; the underside bearing a cartouche containing the throne name of Tutankhamun, Nebkheperure (which translates as ‘Lord of manifestations is Re’); drilled for suspension.

£2,000 - 3,000

PROVENANCE

Acquired prior to 2000.

Ex British private collection.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114473-195983.

FOOTNOTES

Carnelian scarabs with royal names or decorative/symbolic motifs were particularly popular during the 18th Dynasty.

14

EGYPTIAN CARNELIAN HEART SCARAB NEW KINGDOM-LATE PERIOD, 1550-332 B.C.

¾ in. (3.07 grams, 19 mm).

A finely carved carnelian heart scarab (Scarabaeus sacer) modelled naturalistically in the round with anatomical detailing to the carapace, head, legs and underside of the body; slightly domed profile; drilled laterally to the underside of the body for suspension.

£2,500 - 3,500

PROVENANCE

From an early 20th century Home Counties collection.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114474-196152.

LITERATURE

Cf. The Johns Hopkins Archaeological Museum, accession number 3791, for a similar scarab dated to the Late Period.

FOOTNOTES

The Egyptians saw the scarab as a symbol of renewal and rebirth. The beetle was associated with the sun god because scarabs roll large balls of dung in which to lay their eggs, a behavior that the Egyptians thought resembled the progression of the sun through the sky from east to west. Scarab amulets were used for their magical rejuvenating properties by both the living and the dead. The regenerative powers of scarabs such as the one offered here could be used by either the living or the dead for healing and protection. The striking red/orange colour of the carnelian stone used to produce this amulet strengthens its solar associations.

15

EGYPTIAN FELDSPAR SCARAB

NEW KINGDOM, 1550-1069 B.C. ⅞ in. (6.35 grams, 22 mm).

An amazonite feldspar scarab with simple detailing to the body and legs; drilled for suspension. £400 - 600

PROVENANCE Acquired 1979-1999. London collection of the late Mr S.M., thence by descent.

16

EGYPTIAN TRANSLUCENT CARNELIAN SCARAB

MIDDLE KINGDOM–SECOND INTERMEDIATE PERIOD, 2133-1550 B.C. ⅞ in. (5.98 grams, 22 mm).

A translucent carnelian scarab with detailing to the head, body and legs; drilled for suspension. £400 - 600

PROVENANCE Acquired 1979-1999. London collection of the late Mr S.M., thence by descent.

17

EGYPTIAN AMETHYST SCARAB

LATE MIDDLE KINGDOM, 2055-1650 B.C. ¾ in. (4.58 grams, 20 mm).

An amethyst scarab engraved with simple anatomical detailing to the head and legs; drilled for suspension. £400 - 600

PROVENANCE

Acquired 1979-1999. London collection of the late Mr S.M., thence by descent.

18

EGYPTIAN AND OTHER HARDSTONE AMULET COLLECTION

MIDDLE KINGDOM-PTOLEMAIC PERIOD, 2133-31 B.C. ¼ - 1½ in. (94 grams total, 8-37 mm).

A mixed group of Egyptian and other hardstone amulets of various types, including a haematite headrest; a red jasper heart (ib) amulet and another in green stone; a frog in pale green stone and another in faience; a fragmentary carnelian couchant lion; a lapis lazuli wedjat eye; a feldspar seated hawk; the scarabs include two uninscribed lapis lazuli scarabs, a naturalistically modelled feldspar scarab; an alabaster scarab with a dog(?) above a lion on the underside; and a Late-Ptolemaic Period agate scarab with a modern loop fitting. [33] £1,000 - 1,400

PROVENANCE

Acquired Paris, France, 1950-1970. Private collection of Madeline Meunier (1921-2009). with Christie's Millon, Paris, France, 16 December 2016, lot 152. From an important Paris gallery, France. Ex private Parisian collection.

19

EGYPTIAN GLASS INLAY COLLECTION

LATE PERIOD-PTOLEMAIC PERIOD, 664-30 B.C. 1 - 2⅛ in. (31.6 grams total, 24-56 mm).

A group of six anatomical glass inlays comprising: a blue right hand and wrist clenched into a fist; a blue left hand and arm; a reddishcoloured right arm and hand, palm and fingers turned outwards; a red-brown foot, calf and knee with indication of musculature; a blue left foot and ankle with stylised toe detailing; a blue face in profile with detailing to the eye, nose and lips; three with old collection numbers: 'M9996 / N119,65', 'N7805 / M5818' and M5610 / N2613'. [6] £1,800 - 2,400

PROVENANCE

Acquired Paris, France, 1950-1970. Private collection of Madeline Meunier (1921-2009). with Christie's Millon, Paris, France, 15 December 2016, lot 60. Accompanied by a copy of the relevant Christie's Millon catalogue pages. 20

EGYPTIAN NECKLACE WITH PAPYRUS FLOWER AMULETS

NEW KINGDOM, 1550-1069 B.C. AND LATER 23⅝ in. (10 grams, 60 cm long).

A restrung necklace composed of lapis lazuli papyrus flower amulets, lapis and other stone seed beads, gold-coloured spacer beads and a modern screw clasp. £600 - 800

PROVENANCE UK private collection before 2000. UK art market. Property of a London gentleman. 21

EGYPTIAN STATUETTE OF THOTH LATE PERIOD-PTOLEMAIC PERIOD, 664-30 B.C. 6¾ in. (470 grams total, 17 cm high including stand).

A copper-alloy statue depicting the ibis-headed god Thoth in a striding pose, left leg positioned in front of the right, right arm held straight by his side, left arm bent at the shoulder and extended forwards, both hands held in gripping fists; the god wearing a wig and kilt; mounted on a custom-made display base. £1,500 - 2,000

PROVENANCE French collection, 1990s-early 2000s. with Thierry de Maigret, Paris, auction 13882, lot 121, with lot sticker to reverse. From an important Parisian gallery, France. Ex private Paris collection.

LITERATURE Cf. The British Museum, museum number EA60481, for a comparable figure; cf. The Metropolitan Museum, accession number 10.130.1360, for a similar figure.

22 EGYPTIAN GILT REPOUSSÉ PANEL WITH PHARAONIC SCENE

LATE PERIOD-ROMAN PERIOD, 664 B.C.-323 A.D.

3½ x 3⅛ in. (74 grams total, 90 x 80 mm including stand).

A gilt copper-alloy panel of sub-rectangular form, displaying a repoussé figural scene composed of a Pharaoh standing at the centre facing right, faced by two bird-headed attendants standing with their arms arched above the Pharaoh's head, two columns of hieroglyphs in the field between the figures; on a woven fabric backing; accompanied by a custom-made display stand. £2,500 - 3,500

PROVENANCE Freiburg Gallery 1970s. From an important Spanish collection, Madrid. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114475-196151.

23 ROMANO-EGYPTIAN GOLD AMULET GROUP

2ND-3RD CENTURY A.D.

1¼ - 2 in. (15.76 grams total, 32-51 mm).

A group of four hollow-formed, bifacial sheet-gold beads comprising: a cockerel with repoussé detailing to the face, feathers and tail; two roughly lozengiform amulets bearing a nude male figure in raised relief to each face, one with some compression and wear to the image; a standing robed male figure with arms held across the stomach, wearing a sash; all pierced for suspension. [4] £400 - 600

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

For charges payable in addition to the final hammer price of each Lot see paragraphs 19 & 26 of buyer's T&C's

EGYPTIAN GOLD CAT AMULET

THIRD INTERMEDIATE PERIOD, 1069-702 B.C. ¼ in. (0.52 grams, 8 mm).

A gold amuletic pendant in the form of a cat sitting on a tongueshaped base, and associated with the goddess Bastet; suspension loop behind the shoulders. £400 - 600

PROVENANCE Early 20th century French collection.

LITERATURE Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, p.33, item 29(c).

25

EGYPTIAN GOLD HORUS AMULET

LATE DYNASTIC PERIOD, 1550–1069 B.C. ⅜ in. (1.13 grams, 9 mm).

A gold amulet depicting the god Horus represented here in falcon form surmounting the rectangular serekh, in turn considered to symbolise the façade of a royal palace; a pair of piercings through the base for suspension. £400 - 600

PROVENANCE Early 20th century French collection.

LITERATURE See Aldred, C., Jewels of the Pharaohs, London, 1971, p.21, no.1, for the gold elements from the bracelet of King Djer of the First Dynasty provide very close parallels.

26

EGYPTIAN GOLD BABOON AMULET

NEW KINGDOM-ROMAN PERIOD, 1550 B.C.-323 A.D. ¾ in. (3.32 grams, 20 mm wide).

A gold amulet formed in the round as a baboon, sacred to the god Thoth, walking on all-fours on a slender base, with simple anatomical detailing and suspension loop to one face. £400 - 600

PROVENANCE Acquired 1990s. with Pierre Bergé & Associés, Paris, 28-29 May 2008, lot 436. From an important Paris gallery, France. Ex Parisian collection. Accompanied by copies of the Pierre Bergé & Associés catalogue pages.

LITERATURE For a gold amulet with similar base and suspension loop see: Ancient Egyptian Art from the Harper Family Trust Collection, Christie's, New York, 9 December 2005, lot 5, which dates to 2134-1640 B.C.

FOOTNOTES

The baboon likely represents the god Thoth.

27

EGYPTIAN SCARAB IN GOLD MOUNT

LATE PERIOD, 664-332 B.C. ¾ in. (2.34 grams, 18 mm).

A glazed composition scarab with detailed serrated legs and cartouche of Tuthmoses III to the underside; set in a later gold mount for suspension. £600 - 800

PROVENANCE Acquired 1969-1999. London collection of the late Mr S.M., thence by descent.

28

EGYPTIAN CARVED LIMESTONE RELIEF PANEL NEW KINGDOM, RAMESSIDE PERIOD, 1550-1070 B.C.

20½ in. (22.7 kg, 52 cm wide).

A rectangular limestone relief bearing the body of a high-ranking male dignitary facing right and the head and upper torso of a woman behind him to the left, most probably his wife; both figures carved in low-relief, set within a sunken area; the male figure wearing a short wig consisting of overlapping locks and an elaborate garment with ample pleated sleeves, usekh collar resting over the garment, holding a sekhem sceptre, a symbol of his high rank, in his right hand, extending his raised left hand possibly towards an offering table which is not visible; the female figure embracing the man with her left hand and holding his right arm with her right hand, wearing an elaborately braided wig, a long robe with ample sleeves and a Broad Collar; mounted on a custom-made display stand.

£4,000 - 6,000

PROVENANCE French collection, 1990s-early 2000s. with Chochon-Barré Marie Auction, Paris, France, 10 February 2016, lot 77. From an important Paris gallery, France. Ex private Parisian collection. Accompanied by an academic report by Dr Alberto Maria Pollastrini. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114476-194061.

LITERATURE Cf. Malek, J. ed., Egyptian Art, Phaidon Press Ltd, 1999, pp.242-243, for a comparable relief; Fischer, H.G., 'A Chair of the Early New Kingdom' in Egyptian Studies III: Varia Nova, The Metropolitan Museum of Art, New York, 1996, pp.141-176; Giovetti, P. and Picchi, D., Egitto, splendore millenario: La collezione di Leiden a Bologna, Skira, Milano, 2015; Staring, N., 'The Late Eighteenth Dynasty Tomb of Ry at Saqqara (reign of Tutankhamun). Horemheb's Chief of Bowmen and Overseer of Horses Contextualised' in Rivista del Museo Egizio

FOOTNOTES

The couple are probably seated on the traditional lion-legged chairs, a not infrequent occurrence in New Kingdom funerary reliefs (Fischer, 1996, pp.145148). This fragmentary relief is connected with the iconographical program which was popular in the tombs and on the funerary stelae commissioned by private persons during the New Kingdom. We can mention for example the relief of Merymery, 18th Dynasty (RMO-Leiden, AP 6-b; Giovetti and Picchi, 2015, pp.260-263, 529) and the relief of Ry, late 18th Dynasty (Ägyptisches Museum ÄM 7278; Staring, 2020).

29

EGYPTIAN SANDSTONE RELIEF SECTION WITH VULTURE AND BUST OF AN OFFERING BEARER OLD KINGDOM, CIRCA 2300 B.C. 9 in. (523 grams total, 23 cm high including stand).

A sandstone relief section of sub-rectangular form, carved in raised relief with the bust of an offering bearer in profile left, above a vulture standing right; remaining traces of flesh-coloured pigment to the figure, together with the start of a hieroglyphic text to the top right of the section; accompanied by a custom-made display stand. £600 - 800

PROVENANCE

with Bonhams 22 September 1998, lot 83. Private collection of Professor Kenneth Graham, London, UK. Accompanied by a copy of the relevant Bonhams catalogue pages.

30

EGYPTIAN FIGURAL KOHL POT LATE PERIOD, 664-525 B.C. 2¾ in. (266 grams, 71 mm).

A carved fine-grained limestone kohl pot in the form of a human head, depicted with semi-naturalistic facial features and short wig dressed in braids; raised rim to top of head and cylindrical recessed pot; rectangular-section socket to base with copper-alloy lining. £1,000 - 1,400

PROVENANCE

Acquired Paris, France, 1950-1970. Private collection of Madeline Meunier (1921-2009). with Christie's Millon, Paris, France, 16 December 2016, lot 159. From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE

Cf. Vandier d'Abbadie, J., Les objets de toilette égyptiens au Musée du Louvre, Paris, 1972, pp.96-97, no.378, for a faience example of comparable fine quality.

FOOTNOTES

Figural aryballoi with human heads became popular in the Late Period and many were mass-produced in faience workshops at Naukratis (for example MMA 1972.118.142).

31

LARGE EGYPTIAN SEATED FIGURE WITH HIEROGLYPHS

NEW KINGDOM, 1550-1069 B.C. 5¼ in. (1.2 kg, 13.5 cm high).

The lower half of a stone statue of a seated figure, comprising an Lshaped base with decorative vertical striations and panel of hieroglyphs to both faces, together with the lower body of what was likely a royal figure or deity wearing a pleated kilt, arms resting along the tops of the thighs with palms open and facing downwards, feet placed parallel; base of pillar to reverse also bearing hieroglyphs.

£1,000 - 1,400

PROVENANCE

French collection, 1990s-early 2000s. From an important Paris gallery, France. Ex private Parisian collection.

32

EGYPTIAN MARBLE FIGURE OF HORUS

PTOLEMAIC PERIOD, 332-30 B.C. 4¾ in. (390 grams total, 12 cm high including stand).

A carved white marble figure of Horus in falcon-form, modelled in the round with stylised anatomical features; standing with closed wings; remains of a support for the crown behind the head; mounted on a custom-made display stand. £600 - 800

PROVENANCE

Acquired from Arte Primitivo, New York City, U.S.A. circa 2010. Private collection of Professor Kenneth Graham, London, UK.

LITERATURE

Cf. a similar statuette in the Liverpool Museum, inv. 59.148.75, in Michaelis, A., Ancient Marbles in Great Britain, London, 1882, p.358, no.75.

33 EGYPTIAN PINK STONE KOHL POT

LATE PREDYNASTIC-EARLY DYNASTIC PERIOD, 3100-2850 B.C. 1¼ in. (114 grams, 54 mm high).

A pink marble or alabaster kohl pot of fusiform shape, two horizontal perforated handles to the shoulder and flat base. £500 - 700

PROVENANCE

Acquired Paris, France, 1950-1970. Private collection of Madeline Meunier (1921-2009). with Christie's Millon, Paris, France, 16 December 2016, lot 50 (US$1,0001,700). Accompanied by a copy of the relevant Christie's Millon catalogue pages.

LITERATURE

Cf. Aston, B.G., Ancient Egyptian Stone Vessels: Materials and Forms, Heidelberg, 1994, p.120, shape 77.

FOOTNOTES

Versions of this style of vessel with shallow integral handles have been found in First Dynasty contexts at sites such as Saqqara and Abydos.

34

PHOENICIAN PIRIFORM JUG

8TH CENTURY B.C. 10⅞ in. (1.7 kg, 27.5 cm high).

A piriform ceramic jug with trefoil mouth and integral ribbed handle; covered in a red slip with burnished surface; held in an antique wooden box crate.

£800 - 1,000

PROVENANCE

Collected by Miss Patience Townend, in the late 1950s. Thence by descent to the owner’s godmother. By gift to Mrs Lucy Manningham-Buller, circa 2002.

Accompanied by a copy of a letter from Rupert Chapman, Curator of Levantine Antiquities, in the Middle Eastern Department at the British Museum, dated 4th March 2013, discussing the piece: ‘…there is no doubt in our minds that the piece is genuine, and that it dates to the eighth century B.C....the piece you have is a very fine one… any museum would be very happy to have such a fine example in its collection’.

FOOTNOTES

An example of fine tableware from this period, made for use in the wealthiest households.

35

EGYPTIAN BLACK STONE OSIRIS STATUETTE

LATE PERIOD, 664-332 B.C.

6¾ in. (320 grams total, 17.2 cm high including stand).

A black stone figure of Osiris wearing the White Crown of Upper Egypt, with remains of uninscribed tapering pillar to reverse, the figure's arms crossed over the chest, hands gripping crook and flail; mounted on a later display base.

£1,500 - 2,000

PROVENANCE

From an early 20th century French collection. Acquired Drouot, Paris, 2000s.

From an important Paris gallery, France. Ex private Parisian collection.

36

EGYPTIAN LIMESTONE PAINTED SHABTI INSCRIBED FOR IR-NU NEW KINGDOM, 19TH-20TH DYNASTY, 1295-1077 B.C.

11 in. (1.4 kg total, 28 cm including stand).

A tall, elegant limestone shabti inscribed for Ir-nu; the figure with carefully modelled face with large eyes and unnaturally large ears, wearing a neck strap, a long tripartite wig with incised striations and a broad three-band collar; to carry out its duties in the afterlife on behalf of Ir-nu, the shabti holding a pick in its left hand, a hoe in the right and a seed bag hanging over the left shoulder; the position of the hands facing each other rather uncommon; the text beginning in the vertical column running down the front of the figure, continuing in five horizontal bands with pale red-ochre pigment colouring to the top, middle and bottom bands; the same pigment used to colour the implements and also alternates with blue striations of the wig, the neck strap and details of the collar also in blue; the inscription from the Book of the Dead Chapter 6, reading:

Vertical column: The illuminated one, the Osiris

Horizontal rows:

1) Ir-nu, true of voice, he says: O, this shabti 2) if one is counted, if one is reckoned to do the work 3) [to do all that is to be done in] the God’s land, to cultivate the riparian lands, transport by boat 4) [sand of] the west to the east, to act 5) at any time, to serve there (you) shall say true of voice(?). £30,000 - 40,000

LITERATURE Cf. Newberry, P., Funerary Statuettes and Model Sarcophagi, Catalogue général des Antiquités égyptiennes du musée du Caire Nos.46530-48575, Cairo 1930-1957, pp.378-379 (CG 48497), pl. XXI; see Donald, B., 'Funerary Figurines' in Oxford Encyclopaedia of Ancient Egypt, vol 1, New York, 2000, pp.568-569; see also Schneider, H.D., Shabtis. An Introduction to the History of Ancient Egyptian Funerary Statuettes with a Catalogue of the Collection of Shabtis in the National Museum of Antiquities at Leiden, 3 vols., Leiden 1977, V.2, p.73, (3.2.1.55), pl.100; V.3 p.26.

EXHIBITED

The European Fine Art Foundation (TEFAF) 2016, Booth 430, Maastricht Exhibition & Congress Centre, Maastricht, Netherlands.

in addition to the final hammer price of each Lot see paragraphs 19 & 26 of buyer's T&C's

PROVENANCE Carieau family collection, Belgium, acquired in 1952. Ex Maspero collection, Paris, 1963. Acquired from a private European collection, in 1978. Property of a central London gentleman. Accompanied by a copy of a technical report by Edmund S. Meltzer Ph.D. Accompanied by an academic report by Egyptologist Paul Whelan. Accompanied by a scholarly note no.TL05399 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114477-195971.

37 EGYPTIAN ROYAL SHABTI OF RAMESSIDE PRINCE KHAEMWASET NEW KINGDOM, 19TH DYNASTY, 1292-1189 B.C. 6⅞ in. (199 grams total, 17.5 cm high including stand).

A blue-glazed composition shabti figurine for prince Khaemwaset wearing a bag wig with the sidelock of a Sem-priest, face detailed in black; wearing an usekh collar, arms crossed at the chest holding flails, seed-bag on the back; a vertical column of hieroglyphic text to the front of the body and legs; accompanied by a custom-made display stand.

£4,000 - 6,000

PROVENANCE

Acquired in London in the 1960s. Leopoldo Benguerel y Godo, Barcelona, Spain. Ex Hixenbaugh Ancient Art in 2014. Accompanied by an original thermoluminescence analysis report, which has included an additional potassium test with no.N122j24 from Oxford Authentication.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114478-195969.

LITERATURE

See The British Museum, accession number EA35215, for a similar shabti; the Louvre, accession number N 456.

FOOTNOTES

Khaemwaset was the fourth son of Ramesses II and has been described as the first Egyptologist because of his efforts in restoring monuments of earlier kings and nobles, including the statue of the son of King Khufu, Prince Kawab. He became a Sem-priest of Ptah in Memphis and during his time created an underground gallery for the burial of several Apis bulls, the bull being a sacred animal to god Ptah. The burial of Khaemwaset was found by Auguste Mariette in the Serapeum, burial place of the Apis bulls, in 1858. Many of the finds, including shabtis, are displayed in The Louvre, Paris.

EGYPTIAN BLUE-GLAZED HIEROGLYPHIC SHABTI FOR GOD'S FATHER OF AMUN THIRD INTERMEDIATE PERIOD, 21ST-22ND DYNASTY, 1081-725 B.C. 4⅝ in. (113 grams total, 11.7 cm high including stand).

A typical deep-blue glazed faience shabti of the period with black painted details and a single column of hieroglyphs on the front for a God's Father of Amun; each hand holding a hoe; mounted on a custom-made stand.

£1,000 - 1,400

PROVENANCE Acquired in the 1970s. From a private French estate of Mr G. Ex Rieunier & Associes, Drouot, Paris, France, in 2007.

LITERATURE Cf. Janes, G., Shabtis: A Private View, Paris, 2002, p.119, no.60a, for a similarly styled shabti.

38

39

EGYPTIAN PAPYRUS FRAGMENT GROUP WITH HIEROGLYPHS FROM THE BOOK OF THE DEAD FOR QED-MUT NEW KINGDOM, MID 18TH-EARLY 19TH DYNASTY, EARLY 14TH-MID 13TH CENTURY B.C. 8⅞ x 8¾ in. (269 grams total, 22.5 x 22 cm).

A frame containing fragments of ink inscribed papyri with remains of hieroglyphic text from the Book of the Dead for Qed-Mut; from Chapter 83, the spell for being transformed into a phoenix. £1,500 - 2,000

PROVENANCE

Acquired in 1967.

French private collection of Mr C. Acquired from the above in 2013.

Ex French private collection. Accompanied by copies of the relevant translations of the Book of the Dead Spells in The Book of the Dead or Going Forth By Day. Ideas of the Ancient Egyptians Concerning the Hereafter as Expressed in Their Own Terms.

LITERATURE

Cf. Faulkner, R.O., The Ancient Egyptian Book of the Dead, London, 1985, pp.80-81, for a translation of the spell.

40 EGYPTIAN PAPYRUS FRAGMENT GROUP WITH HIEROGLYPHS FROM THE BOOK OF THE DEAD FOR QED-MUT NEW KINGDOM, MID 18TH-EARLY 19TH DYNASTY, EARLY 14TH-MID 13TH CENTURY B.C. 10⅝ x 9 in. (324 grams total, 27 x 23 cm).

A frame containing fragments of ink inscribed papyri with remains of polychrome vignettes and hieroglyphic text from the Book of the Dead for Qed-Mut; Chapter 146, representing the Portals of the House of Osiris, each addressed individually and shown as an elaborate entrance containing the remains of the squatting figure of its doorkeeper, here showing Portals one and five.

£1,500 - 2,000

PROVENANCE

Acquired in 1967.

French private collection of Mr C. Acquired from the above in 2013.

Ex French private collection. Accompanied by copies of the relevant translations of the Book of the Dead Spells in The Book of the Dead or Going Forth By Day. Ideas of the Ancient Egyptians Concerning the Hereafter as Expressed in Their Own Terms.

LITERATURE

Cf. Allen, T.G., The Book of the Dead or Going Forth by Day, Chicago, 1974, pp.133-137, for a complete translation of the spell.

PAPYRUS FRAGMENT GROUP WITH HIEROGLYPHS, ISIS, OSIRIS AND ANUBIS NEW KINGDOM, MID 18TH-EARLY 19TH DYNASTY, EARLY 14TH-MID

CENTURY B.C.

x 7¼

(483 grams total, 50 x 18.5

A frame containing fragments of ink inscribed papyri with remains of polychrome vignettes and hieroglyphic text from The Book of the Dead for Qed-Mut; the fragment is from Chapter 18: Qed-Mut kneeling in adoration before Anubis, Osiris and Thoth; Qed-Mut before Osiris and Thoth; Qed-Mut before Hapy and an unidentified deity. £4,000 - 6,000

PROVENANCE Acquired in 1967. French private collection of Mr C. Acquired from the above in 2013. Ex French private collection. Accompanied by copies of the relevant translations of the Book of the Dead Spells in The Book of The Dead or Going Forth By Day. Ideas of the Ancient Egyptians Concerning the Hereafter as Expressed in Their Own Terms. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114479-195985.

LITERATURE Cf. Allen, T.G., The Book of the Dead or Going Forth by Day, Chicago, 1974, pp.32-34, for a complete translation of the spell.

42

GREEK ATHENIAN GEOMETRIC BOWL

8TH CENTURY B.C.

9½ in. (652 grams, 24 cm wide).

An Athenian geometric high-rimmed bowl composed of a carinated body, shallow foot and twin 'ribbon' handles; painted friezes composed of alternating geometric panels including chequerboard, hatched, gammadion and circular motifs to the upper body, Greek key motif to the equator, chevrons to the handles and solid circumferential bands alternating with a band of dots and of chevrons to the lower body; solid bands of varying depth to the interior.

£2,500 - 3,500

PROVENANCE

Ex David William Akehurst collection by descent.

David Akehurst joined the British Museum in 1948, initially in the Greek and Roman Antiquities department, then moving to be Chief Conservation Officer of glass and ceramics until his retirement in 1982.

Accompanied by an original thermoluminescence analysis report no.N122j41, from Oxford Authentication.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114480-196156.

LITERATURE

Cf. The Michael C. Carlos Museum at Emory University, object number 1983.005, for similar; cf. The British Museum, museum number 1910,0414.5, for a broadly comparable bowl.

FOOTNOTES

Possibly Late Geometric IIa, 735-720 B.C.

43

LARGE ETRUSCAN PANTHER SCULPTURE ‡

CIRCA 5TH-4TH CENTURY B.C. 15¾ in. (5 kg, 40 cm high).

A substantial terracotta panther sculpture, the animal standing alert and with head turned upwards to left, its tail curled underneath to right; head, front legs and paws well-detailed; traces of polychrome pigment; hollow interior; partially reconstructed. £2,000 - 3,000

PROVENANCE

Acquired on the European art market. German private collection formed in the 1970s. Acquired in the 2000s from Herakles Numismatik und Antiquitaten GmbH, Munich.

Ex English private collection. with Bertolami Fine Art, London, 24 March 2017, lot 10. Michael Bianco, California, U.S.A., collection. Private Australian collection with collection number 20.12. Accompanied by an illustrated two page collector's cataloguing document. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114481-196374.

LITERATURE

Cf. Torelli, M., Gli Etruschi, Cinisello Balsamo, 2000, p.637, no.328, for similar examples.

FOOTNOTES

This sculpture could possibly have been a part of a larger cultic sculpture group, perhaps related to Dionysus, possibly being the decorative side (with its parallel) of a cultic throne, for which the present sculpture would have served as an armrest. The possibility that the terracotta is Hellenistic is suggested by its parallels with the so-called ‘Throne of the Panthers’, preserved at the Museo Rocca Monaldeschi della Cervara, Bolsena (inv.2081). The throne comprises a square plinth supporting the seat and a semi-circular back with zoomorphic and vegetal decoration, with two panthers in a guard position to the sides.

GREEK TERRACOTTA APHRODITE IN ALCOVE

CIRCA 4TH CENTURY B.C.

12¼ in. (934 grams, 31 cm high).

A terracotta moulded figurine of the goddess Aphrodite standing with a himation draped from her forearms around her hips and thighs, her hair bound in a chignon, right hand raised and left hand open flat (probably to accept a patera on which offerings could be made to her); enclosed within a broad terracotta open-fronted niche or alcove with rounded upper edge.

£500 - 700

PROVENANCE English collection formed in the 1990s. UK art market.

Property of an Essex gentleman.

LITERATURE

Cf. terracotta figure of Aphrodite in the collection of the Louvre museum, Paris, under accession number E 20730 (MG 3231) published in Dunand, F., Catalogue des terres cuites gréco-romaines d'Égypte, [Musée du Louvre, Paris. Département des Antiquités égyptiennes.], Paris, Réunion des musées nationaux, 1990, p.30.

45

CYPRIOT HORSE AND RIDER FIGURE

8TH-6TH CENTURY B.C.

6⅛ in. (206 grams, 15.5 cm wide).

A terracotta horse and rider figure modelled in the round, standing on elongated stub legs, stout neck with stylised painted mane and coat detailing, waisted muzzle with raised almond-shaped eyes defined by painted roundels, solid colouring to the muzzle and short tail; rider represented by a torso and D-shaped head, arms reaching for the horse's neck and gripping its mane, painted detailing to the arms, hands and face.

£1,500 - 2,000

PROVENANCE

London deceased estate, 1960s-1970s.

Property of a Cambridgeshire, UK, gentleman.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11300-192101.

LITERATURE

Cf. The Metropolitan Museum of Art, accession number 74.51.1771, for very similar.

FOOTNOTES

Terracotta figurines of horse and rider were common grave offerings in Boeotia, northwest of Attica, particularly during the 6th century B.C. Representations of warriors on horseback were already diffused in the Geometric Period, and widely employed in Cyprus, in this same period. The image of our rider, although influenced by Cypriot designs, does not show typical Cypriot characteristics, and indeed his kausia cap suggests a northern Greek origin.

46

GREEK CORINTHIAN ANTHROPOMORPHIC VESSEL

EARLY 6TH CENTURY B.C.

4 in. (113 grams total, 10 cm including stand).

A terracotta kohl vessel with narrow opening to the top, formed as a squatting comast, depicted naked with painted brown spots to the stomach and pubic area, small exposed genitals; legs pulled tightly against the body, elbows resting on the knees and hands clasped in front of the chest; hair dressed in archaic ringlets with two suspension holes on either side of the neck; the face with prominent nose and full lips, small lentoid eyes; mounted on a custom-made stand.

£1,500 - 2,000

PROVENANCE

Acquired 1950s-1970. Private North American collection. with Bonhams, London, New Bond Street, 7 July 2016, lot 11. Property of a private New York, U.S.A. collection. Accompanied by copies of the relevant Bonhams catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10621-174178.

LITERATURE Cf. Higgins, R., Catalogue of the Terracottas in the Department of Greek and Roman Antiquities, British Museum, vol II, pp.26-27, figs.1665-1667.

FOOTNOTES

Comasts were the participants of a ritualistic drunken procession.

to the final hammer

47

LARGE GREEK ATTIC HIGH-GLOSS BLACKWARE SKYPHOS

5TH CENTURY B.C.

11¼ in. (496 grams, 28.6 cm wide).

A blackware skyphos of exceptional quality comprising a deep bowl and two loop handles set below the rim, waisted foot with carinated rim, concentric rings in natural terracotta with black and white pigment to the underside; restored. £1,000 - 1,400

PROVENANCE

From the private collection of David Akehurst, Curator of the British Museum Greek and Roman Department 1948-1982, thence by descent.

LITERATURE

See Hoppin, J. C. and Gallatin, A.-E., Corpus Vasorum Antiquorum USA 1, Hoppin and Gallatin Collections, Cambridge, 1926, p.109, Gallatin pl.64.4.

FOOTNOTES

A similar, though less well-preserved example is in the Metropolitan Museum of Art, New York under accession number 41.162.228.

48

GREEK BLACK-GLAZED LIDDED PYXIS

5TH-3RD CENTURY B.C.

4½ in. (153 grams, 11.4 cm high).

A black-glazed lidded pyxis with squat body, broad shoulder stamped with stylised floral vines, two round-section handles and discoid foot; lid with conical finial and stamped shell motifs. £400 - 600

PROVENANCE

By repute purchased at auction or at an art gallery during the 1970s-1980s. English private collection.

49

GRAECO-ROMAN TURQUOISE FAIENCE JAR

1ST CENTURY A.D.

8¼ in. (2.2 kg, 21 cm wide).

A turquoise blue faience jar probably made in Roman Egypt, in a form similar to that of a Greek column krater, with a broad shoulder and rim, two angled strap handles with scalloped ends, band of raised scales to the shoulder, lotus leaves to the body and shoulder; restored. £700 - 900

PROVENANCE

Acquired on the European art market mid 1990s. with Bonhams, Knightsbridge, 22 September 1998, lot 31. with Bonhams, Knightsbridge, 22 April 1999, lot 641. with Christie's, London, 18 October 2005, lot 10. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. Accompanied by a copy of the relevant Christie's and Bonhams catalogue pages.

LITERATURE

Cf. The Metropolitan Museum, accession number 2021.41.171, for a very similar example; cf. Grimm, G., 'Two Early Imperial Faience Vessels from Egypt', Miscellanea Wilbourriana 1, The Brooklyn Museum, New York, 1972, pp.71-100, fig.10, for a discussion of similar vases in the Museum of Egyptian Antiquities, Cairo.

50

PARTHIAN GLAZED AMPHORA 3RD-2ND CENTURY B.C. 12⅝ in. (1.97 kg total, 32 cm high).

A glazed ceramic amphora bearing linear bands to the body and shoulders, broad tubular neck with everted rim, strap handles to the shoulders; some restoration. £600 - 800

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

COLOSSAL MARBLE HEAD OF ZEUS

2ND CENTURY A.D.

23⅝ in. (27.6 kg total, 60 cm high including stand).

A colossal Roman white marble head section copied from an original Greek Hellenistic model, roughly comprising the left half of the face of a mature male figure, showing naturalistic musculature around his eye and to his cheek, his face with a smooth over-all texture, albeit with a wrinkle at the corner of the eye and to the forehead; modelled with a full beard and shoulder-length hair; mounted on a custom-made display stand.

£5,000 - 7,000

PROVENANCE

From an old English collection.

Ex Vermot & Associés, Paris, France, 2020, lot 32.

From an important Paris gallery, France.

Ex private Parisian collection.

Accompanied by an academic report by Prof. Neritan Ceka.

Accompanied by scholarly note TL05455 by Dr Ronald Bonewitz.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114482-195296.

FOOTNOTES

The deepening of the strong scaling in the part under the chin, where the neck should continue, proves that the head was made separately, to be placed on a wooden body, in the form of sculptures called acroliths, where only the head and extremities were worked in marble. At a harmonious ratio of 1:8 between the height of the man's head and the whole body, the original height of the sculpture must have been about 4 metres.

LITERATURE See Aurenhammer, M. (ed.), Sculpture in Roman Asia Minor, Proceedings of the International Conference at Selçuk, 1st-3rd October 2013; D'Andria, F., Romeo, I. (ed.), Roman sculpture in Asia Minor : Proceedings of the International conference to celebrate the 50th anniversary of the Italian excavations at Hierapolis in Phrygia, held on May 24-26, 2007, in Cavallino (Lecce), JRA Supplementary series, 80, Portsmouth, RI: Journal of Roman Archaeology, 2011.

52

CYPRIOT LIMESTONE HEAD CIRCA 6TH CENTURY B.C. 10⅝ in. (7.85 kg, 27 cm high).

A fragmentary limestone female head modelled facing with seminaturalistic facial features, her hair dressed in a coiffeur with a single corkscrew curl falling down both sides of her neck, beaded headdress; raised pillar to reverse. [No Reserve] £400 - 600

PROVENANCE Swiss collection prior to the late 1990s. Private London collection since 1999.

53

GREEK MINOAN BRECCIA BOWL

EARLY 2ND MILLENNIUM B.C. 4¼ in. (609 grams, 10.9 cm wide).

A Minoan breccia bowl of truncated conical form with broad inverted rim and rounded shoulder. £3,000 - 4,000

PROVENANCE Acquired before 1999. Ian Woodner collection, New York, U.S.A. Robin Symes gallery. Ex J.L. collection Surrey, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114483-196157.

LITERATURE Cf. The Metropolitan Museum, New York, accession number 26.31.431, for a similar 'bird's nest' bowl dated circa 1800–1700 B.C.; cf. The British Museum, museum number 1921,0515.25, for similar found in Mochlos, Crete.

54

LARGE GREEK GREEN GLASS KRATER CIRCA 5TH-3RD CENTURY B.C. 5¾ in. (394 grams, 14.8 cm wide).

A green glass krater with two applied handles and splayed foot; areas of iridescence. £800 - 1,000

PROVENANCE Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

GREEK MOSAIC GLASS ALABASTRON

4TH-1ST CENTURY B.C.

5½ in. (80 grams, 14 cm high).

A capsule-shaped glass alabastron with a blue body and yellow marvered trails and zigzags, cylindrical neck and flange rim, white knop handles to the shoulder.

£1,000 - 1,400

PROVENANCE Paris collection, 1990s. From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE

Cf. The Metropolitan Museum, accession number 81.10.302, for similar.

56

GREEK MOSAIC GLASS ALABASTRON

3RD-1ST CENTURY B.C.

6 in. (79 grams, 15 cm high).

An opaque glass alabastron composed of a fusiform body with slender neck and broad flange rim, applied ledge handles, decorated with white marvered feathering and spiralling trails.

£1,500 - 2,000

PROVENANCE Paris collection, 1990s. From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE Cf. The Corning Museum of Glass, accession number 74.1.19, for similar; cf. The Metropolitan Museum, accession number 17.194.590, for similar.

FOOTNOTES

A perfume bottle.

57

GREEK MOSAIC GLASS AMPHORA

CIRCA 3RD CENTURY B.C.

1⅞ in. (45.2 grams, 47 mm high).

A miniature glass amphora with piriform body, carinated rim, applied handles and discoid foot, with polychrome geometric motif to the equator. £500 - 700

PROVENANCE Paris collection, 1990s. From an important Paris gallery, France. Ex private Parisian collection.

58

LARGE GREEK DECORATED BRONZE HYDRIA ‡

EARLY 5TH CENTURY B.C. 14 in. (4.7 kg, 39.5 cm).

A bronze hydria composed of a tapering body, broad shoulder and waisted neck, the everted rim decorated with egg-and-dart motifs, three round-section handles and tiered, ogival foot. £15,000 - 20,000

PROVENANCE

Old collection N.A., Niedersachsen, circa 1989-1990. with Gorny & Mosch June 2019, lot 226.

Accompanied by a copy of the relevant Gorny & Mosch catalogue pages. Accompanied by an original French cultural passport number 226773 dated 3 June 2021.

Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11306-190969.

LITERATURE

Cf. The British Museum, museum number 1875,1110.1, for a similar example dated 350-300 B.C., published in Walters, H.B., Catalogue of the bronzes in the British Museum, Greek, Etruscan and Roman, London, 1899, no.312; cf. The Metropolitan Museum, accession number 06.1078, for similar vessel dated 5th century B.C., from Galaxidi; cf. Diehl, E., Die Hydria. Formgeschichte und Verwendung im Kult des Altertums, (1964) 31 f.; Taf. 9 B 110; cf. also Mitten D. G. and Doeringer S.F., Master Bronzes from the Classical World, Mainz, 1967, pp. 108-109, no.108, for a similar example in the Fogg Art Museum, Cambridge, Massachusetts.

FOOTNOTES

Whilst such vessels were originally produced for holding water, hydriai were often re-purposed. From the 5th century B.C. onwards, they also had a funerary function, used in the cult of the dead and the underworld. Appearing as grave deposits, they were sometimes used as funerary urns, receptacles for the ashes of the deceased (see the MET hydria from Galaxidi, found with the bones still inside). Hydriai were also commonly associated with rituals relating to the cults of the gods, with particular emphasis on Zeus, Hera, Aphrodite, Athena, Apollo, Artemis, Demeter, Persephone, Dionysus, the Nymphs, Adonis and other gods and heroes. They have been found in temples and public buildings and have been recorded as prizes in athletic games. It has also been suggested that the more lavish examples were gifted to brides.

ARCHAIC GREEK SICKLE-TYPE PYXIS WITH BIRDS

GEOMETRIC PERIOD, 8TH CENTURY B.C.

4½ in. (5⅜ in.) (116 grams, 11.5 cm high (216 grams total, 13.5 cm high including stand)).

A bronze sickle-type pyxis composed of a lentoid-section body with integral bird protomes, incised detailing and scalloped openwork finial; lid elliptical in plan with a central stem crowned by a pierced discoid flange, also adorned with figurative bird protomes; corresponding perforations in lid and body used to fasten the component parts together; accompanied by a custom-made display stand.

£800 - 1,000

PROVENANCE

Private East Coast, U.S.A. collection.

Acquired from Artemis Gallery, Louisville, Colorado, U.S.A. in 2018. Private collection of Professor Kenneth Graham, London, UK. Accompanied by an Artemis Gallery certificate of authenticity.

FOOTNOTES

Most likely used to hold perfumes or oils, possibly even opium. Excavation of a woman's grave (15 from Marvinci-Lisi in Dol near Valandovo, Republic of Macedonia (Ha C)), revealed the so-called Paeonian ritual bronzes. Her grave goods included a long belt chain incorporating a miniature pyxis with bird protomes (very similar to the pyxis offered here) which is said to have contained raw opium (Kilian-Dirlmeier, 2012, 172; Mitrevski, 1996/97, 106; Mitrevski, 2007).

The sickle handles from the belt chain might represent sacrificial instruments but also symbolic tools for harvesting, and ultimately symbols of fertility.

60 GREEK LADLE WITH BULL’S HEAD AND SPHINX

6TH-4TH CENTURY B.C.

8⅝ in. (195 grams, 22 cm).

A bronze ladle with a deep hemispherical bowl and everted rim, long balustered handle with loop finial and bull’s head to the reverse of terminal, crowned female bust, crouching philosophers to the rim and winged sphinx between. £1,000 - 1,400

PROVENANCE

Ex central London gallery. London collection, 2000s.

61 VILLANOVAN SPECTACLE BROOCH ‡

CIRCA 9TH CENTURY B.C.

4½ in. (103 grams total, 11.5 cm wide including stand).

A fibula formed from a single filament rolled into two 'spectacle' discs; one of the spirals terminates in a long pin, the other in a hook that serves as the catchplate; openwork figure-of-eight at the centre; accompanied by a custom-made display stand. £400 - 600

PROVENANCE

Private collection of L. Farrow, UK.

with Artemis Gallery, Colorado, U.S.A., Exceptional Antiquities Sale, 23 September 2016, lot 10 (part).

Private Australian collection with collection number 16.06. Accompanied by an illustrated collector's cataloguing document.

LITERATURE

Cf. Cassani, S., Art of the Italic People from 3000-300 B.C., Naples, 1993, p. 295, no.188, for similar.

FOOTNOTES

Fibulae of this type are a hallmark of Villanovan culture, first appearing in the 11th century B.C. and continuing into the 5th century B.C.

charges payable in addition to the final hammer price of each Lot

paragraphs 19 & 26 of buyer's T&C's

63

HELLENISTIC SILVER SALVER WITH SPHINXES

3RD-2ND CENTURY B.C.

22 in. (6.3 kg, 56 cm).

A rare and important shallow rectangular tray with incised palmettes to the corners, arcaded band to the inner face of the flanged border, narrow parcel-gilt band to the outer face of the upstand; separately cast sphinxes with lion-paw foot to each corner, wings outspread supporting each corner of the tray.

£12,000 - 17,000

PROVENANCE

From an important North London collection formed before 1980.

Accompanied by a metallurgic analytical report, written by Metallurgist Dr Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 610/130537.

Accompanied by an academic report by Dr Raffaele D’Amato.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114486-195655.

LITERATURE

Cf. Sharvit, T., ‘A Marble Sphinx Statue from Horvat Omrit’ in Israel Studies in Archaeology', pp.97-116, fig.15; Pfrommer, M., Metalwork from the Hellenized East, catalogue of the collections, Malibu, 1993, for discussion.

FOOTNOTES

Trays of this character were used to serve food at formal banquets known as a symposia, which were a key Hellenic social institution. The symposium was a forum for men of respected families to participate in philosophical discussions and political debate. They were also frequently held to celebrate the introduction of young men into aristocratic society. Symposia were also held by aristocrats to celebrate other special occasions, such as victories in athletic and poetic contests. This salver was probably made in one of the major urban centres of the Hellenistic kingdoms, most likely Antioch, capital of the Seleucid Empire. Antioch was founded near the end of the fourth century BC by Seleucus I Nicator, one of Alexander the Great's generals. The city's geographical, military and economic location benefitted its occupants, particularly features such as the spice trade, the Silk Road and the Persian Royal Road. Antioch was noted for its production of luxury items, such as silver ware, which eventually led to it rivalling Alexandria as the chief city of the Near East. At the height of its power the Seleucid Empire included central Anatolia, Persia, the Levant, Mesopotamia, and what is now Kuwait, Afghanistan, and parts of Pakistan and Turkmenistan. The decorative elements of the salver are realised in fine detail and reflect the pure Greek tradition. The scroll-bordered scale ornament must be regarded as the oldest decorative composition among Hellenistic vessels. It already appears in analogous form on Attic marble grave loutrophoroi of the late Classical period (Pfrommer, 1993, fig.38, p.40), showing a close relationship between the ornament on the vessel and the late Classical-early Hellenistic repertoire.

64 GREEK GOLD RING WITH TURRETED GARNET CIRCA 5TH-3RD CENTURY B.C. 1¼ in. (3.76 grams, 33.86 mm overall, 21.35 mm internal diameter (approximate size British W½ , USA 11¼, Europe 25.66, Japan 24)).

A gold ring with flat-section body composed of four rows of gold wire, with rounded terminals which overlap at one shoulder, turreted bezel with coiled wire body and granulated collar, set with a polished garnet cabochon. £400 - 600

PROVENANCE Acquired 1970-2010. Collection of a late Japanese gentleman.

65 GREEK GOLD APPLIQUÉ WITH HEAD OF PERSEPHONE CIRCA 4TH CENTURY B.C. 1⅛ in. (1.46 grams, 29 mm).

A square-shaped sheet-gold plaque displaying a central repoussé female bust (likely Persephone) within a border, pellet to each corner, gadroon-style motif to the perimeter; the bust shown wearing a headdress, drop earrings and a beaded necklace; pierced through three corners for attachment. £400 - 600

PROVENANCE

Acquired 1970-2010. Collection of a late Japanese gentleman.

LITERATURE Cf. Williams, D. and Ogden, J., Greek Gold Jewellery Of The Classical World, New York, 1994, pp.194-195, for comparable examples and item 128, for a similar bust.

66 GREEK GOLD RING WITH ARTEMIS OF EPHESUS AND HER HUNTING DOGS 4TH-3RD CENTURY B.C. ⅝ in. (6.76 grams, 17.24 mm overall, 14.03 mm internal diameter).

A solid gold ring with D-section hoop and arch-shaped 'alcove' bezel with Artemis of Ephesus flanked by her seated hunting dogs in highrelief; the face with fine detailing, wearing a polos and long ependytes; the scene enclosed within a beaded filigree border. £3,000 - 4,000

PROVENANCE Acquired 1970-1999. London collection of the late Mr S.M., thence by descent. Accompanied by an archaeological report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11257-189402.

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 74, for type; for the iconography see Seiterle, G., 'Artemis, Die Grosse Göttin Von Ephesos. Eine Neue Deutung Der Vielbrüstigkeit Eröffnet Einen Zugang Zum Bisher Unbekannten Kult Der Göttin' in Antike Welt, 1979.

FOOTNOTES

No cult was more important in the ancient Graeco-Asiatic world than that of Artemis of Ephesus, and her temple in Ephesus was considered as one of the seven wonders of the ancient world. This ring belongs to a very old iconography of the goddess.

GOLD AMPHORA PENDANT

3RD-1ST CENTURY B.C.

A gold amphora pendant

with

handles,

-

PROVENANCE

69

with

1970-2010.

of a late Japanese gentleman.

of a spherical carnelian body

neck and

of a

GOLD PENDANT WITH SUPPORTING DOLPHINS

2ND-1ST CENTURY B.C.

in. (2.65 grams,

mm).

An amphora-shaped pendant composed of a piriform glass body with

carnelian bead finial below,

- 600

PROVENANCE Acquired 1970-2010. Collection of a late Japanese gentleman.

70

loop above

collar to neck and gold handles formed as dolphins with detailing,

GOLD BIRD PENDANT WITH GARNET AND PEARL DROP

CENTURY B.C.

in. (2.29 grams, 26 mm).

A gold pendant composed of a bifacial zoomorphic body in the form of a bird, with detailing to the head and feathers; circular cell to one face containing possible remains of black glass; two dangles below,

featuring a granulated gold bead above

72

A MONUMENTAL ROMAN BRONZE RIGHT HAND 1ST-2ND CENTURY A.D. 14.18 in. (1.55 kg, 36 cm).

A splendid life-size bronze anatomical fragment possibly once belonging to a larger statue of a youthful figure or athlete; the fragment comprising a lower forearm, wrist and right hand, exhibiting finely-modelled detailing to the three remaining fingers and thumb, nails and palm; mounted on a custom-made stand. £3,000 - 4,000

PROVENANCE French collection, 1990s-early 2000s. with Arnold Auction, Paris, 17 November 2018, lot 365. From an important Paris gallery, France. Ex private Parisian collection. Accompanied by an archaeological report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114488-194051.

LITERATURE Cf. Russell, M., ‘Farewell two arms: a Roman bronze body part from Halnaker, West Sussex’ in Sussex Archaeological collections, 157, 2019, pp.125-132, for similar fragment; Formigli, E., 'La tecnica di costruzione delle statue di Riace' in Ministero dei Beni e delle attività culturali e del turismo, VI serie volume speciale, Roma, 1984, pp.107-142; Bol P. C., Antike Bronzetechnik, Monaco, 1985; Lahusen, G., Formigli, E., 'Ergebnisse der kunsthistorisch-technischen Analysen von zwei römischen Grossbronzen in den Museen des Vatikan', in BMonMusPont, VIII, 1988, pp.21-53; very similar to a bronze hand excavated in Netherlands in Voorburg in 1771, cf. Van Wijn, H., Historische en letterkundige avondstonden, 1800, II Vol. A4ff.

final hammer

74 ROMAN COMIC FIGURE OF A DANCER 1ST CENTURY B.C. 5¾ in. (299 grams,14.5 cm high including stand).

A Roman Alexandrian bronze figure of a male comic dancer, a grotesque figure in an active pose with both legs bent and left arm raised dramatically, head tilted to the left; exaggerated facial features, short trimmed hair, slim body with developed pectoral muscles and pronounced kyphosis (hunched back); mounted on a columnar stand. £4,000 - 6,000

PROVENANCE Belgian private art collection of M.A., Brussels, Belgium, 1995. with Gorny and Mosch, 14 December 2011, lot 82. Property of a London gentleman. Accompanied by copies of the relevant Gorny & Mosch catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114489-195979.

LITERATURE See Metropolitan Museum of Art, New York, accession number 12.229.6 for a similar grotesque figure; Trentin, L. The Hunchback in Hellenistic and Roman Art, London, 2015.

73 'THE CROWMARSH' ROMANO-BRITISH FIGURE OF THE GOD MERCURY 1ST-2ND CENTURY A.D. 4¾ in. (257 grams total, 12.1 cm high including stand).

A copper-alloy figure of the god Mercury (Greek Hermes), modelled standing with his left foot placed slightly in front of the right, left hand resting on the left hip, palm open and facing upwards, the right arm positioned higher, angled in front of the chest with the hand held in a gripping position, indicating that the figure probably once held a caduceus; stylised facial features and hair detailing; crude anatomical detailing to the lower torso and genital area, wearing a winged petasos cap and talaria sandals; simple buttock delineation to the reverse; accompanied by a custom-made display stand. £1,000 - 1,400

PROVENANCE Found whilst searching with a metal detector near Crowmarsh, South Oxfordshire, UK, in 2013. Accompanied by a copy of the British Museum's Portable Antiquities Scheme record id.BERK-7F09EE.

LITERATURE Cf. The British Museum's Portable Antiquities Scheme, record id. LIN-3A2272; WILT-564501; ESS-BC68F7 and IOW-80A331, for other examples of Mercury figures found in England.

PUBLISHED The British Museum's Portable Antiquities Scheme, record id. BERK-7F09EE, for this item.

For charges payable in addition to the final hammer price of each Lot see paragraphs 19 & 26 of buyer's T&C's

41

LITERATURE

75

LARGE ROMAN STATUETTE OF VENUS ANADYOMENE

1ST-2ND CENTURY A.D.

14½ in. (1.7 kg total, 37.5 cm high).

A bronze statuette of Venus (Greek Aphrodite), the goddess of love, rising from the sea, standing nude and bearing the weight on her right leg; her head turned to the left with slightly downcast eyes and finely worked facial detailing; the bountiful hair arranged on top of her head with two long ringlets falling on her shoulders and her right hand holding the end of one ringlet; mounted on a custom-made display stand.

£15,000 - 20,000

PROVENANCE

From a 19th century French collection. with Vermot & Associés, Paris, 6 July 2019, lot 2 (35,000-40,000 Euros).

From an important Paris gallery, France. Ex private Parisian collection.

Accompanied by a copy of a CIRAM laboratory report analysis results page. Accompanied by a copy of the lot listing where it was the front cover piece. Accompanied by an academic report by Dr Raffaele D’Amato.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114490-194050.

FOOTNOTES

See for a similar statuette Reinach, S., Repertoire de la statuarie grecque et romaine, Paris, 1930, p.342, no.9; see also Myres, J.L., ‘Aphrodite Anadyomene’ in The Annual of the British School at Athens, vol.41, Athens; Newberry, J.M., Venus Anadyomene: the Mythological Symbolism from Antiquity to 19th century, Wisconsin, 2011; Wardle, M.E., Naked and unashamed: a study of the Aphrodite Anadyomene in the Greco-Roman World, Duke, 2010.

Like many other nude Venus types, the Anadyomene type was not supposed to conceal the body, but to show her naked and unashamed, arms raised, touching her tresses and exposing the goddess to the viewer. The image of a nude female emerging from the sea with wet tresses was inspired by the stories of the ancient Greek courtesan Phryne swimming nude in the sea during festivals.

76

SUBSTANTIAL ROMAN STATUE OF A NUDE BOY 1ST-3RD CENTURY A.D.

26¾ in. (11.6 kg total, 68 cm with stand).

A very fine figure of a nude putto; naturalistic head and body with soft, childlike features; the left leg slightly forward; the right arm resting, left arm raised with the hand open; the face is worked with great care, with large pupils showing the cavities in which the original stone or glass eyes were inserted; the hair with blocks of curls in a short but dense hairstyle composed of thick short locks, with some in tight curls and others in S-shaped waves, suggesting a natural hairstyle similar to those frequently found in portraits of Roman children. £20,000 - 30,000

PROVENANCE

Acquired in the 1950s from Mathias Komor (1909-1984).

Ex a private English collection.

Old identification sticker to reverse of base, 'Mathias Komor, Works of Art, New York, Reference F210'.

Accompanied by an archaeological report by Dr Raffaele D’Amato. Accompanied by a copy of metallurgic analytical results, written by Metallurgist Dr Peter Northover (ex Department of Materials, Materials Science-Based Archaeology Group & Department of Materials, University of Oxford).

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114491-195980.

LITERATURE See Daremberg - Saglio, Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873-1917; Jashemski, W.J., The gardens of Pompeii: Herculaneum and the villas destroyed by Vesuvius, II volumes, New York, 1979; Manderscheid, H., Die Skulpturenausstattung der kaiserzeitlichen Thermenanlagen, Berlin, 1981; Zanker, P., The power of the images in the age of Augustus, University of Michigan Press, 1988; Currie, S., The empire of adults: the representation of children on Trajan’s arch at Beneventum, New York, 1996; Rawson, B., ‘Iconography of Roman childhood’, in Rawson, B., Weaver P.R.C., The Roman family in Italy, Status, Sentiment, Space, Oxford, 1997, pp.205-232; Herrmann, J.J.Jr., Deconstructing and Reconstructing the Harvard-Vatican Boys, in Brauer A. (ed.), Teaching with Objects: The Curatorial Legacy of David Gordon Mitten, Harvard Art Museums, Cambridge, MA, 2010, pp.34-52; the work of the head shows some similarity with the working hairs of the statue of a boy (in marble) preserved in the Art Institute of Chicago (inv.1976.426); the position of the body is similar to the one of a 1st century AD boy marble piece preserved in Ny Carlsberg Glyptotek, Copenhagen (inv.1790), except for the raised left arm; instead, the general position of the body, raised arm included, is like the one of a Roman boy bronze statue (mid-1st century BC-mid-1st century AD) preserved in Saint Louis Art Museum (inv.36:1926).

FOOTNOTES

The craftsmanship, particularly of the hair, shows some similarity with the marble statue of a boy in the Art Institute of Chicago (inv.1976.426); the position of the body is similar to the one of a 1st century AD marble piece preserved in Ny Carlsberg Glyptotek, Copenhagen (inv.1790), except for the raised left arm; the general position of the body, raised arm included, is similar to the bronze statue of a boy (mid-1st century BC-mid-1st century AD) in the Saint Louis Art Museum (inv.36:1926). This lot exemplifies the Roman interest in artistic representations of children. During the Roman imperial period, children were widely represented in the art of both the public and private spheres, with the children of the imperial family given prominent representation on Augustus’ Ara Pacis. Putti carried a range of meanings; most commonly, they were representations of the god of love (Cupid). Images of both mortal and divine children appeared in the artworks and furnishings of the home, on tomb monuments and burial containers associated with the funerary realm, and on imperial state art. Many Roman sculptures of children appear to have been created for domestic display, as a number of statuettes of children have been found in Roman houses, particularly in gardens.

charges

in addition to the final hammer price of each Lot see paragraphs 19 & 26 of buyer's

77

ROMAN STATUETTE OF APOLLO

2ND-3RD CENTURY A.D.

7 in. (355 grams total, 17.5 cm including stand).

A bronze lar figure of Pythian Apollo, depicted nude with a tall and slender body, carrying a quiver with bossed shoulder strap on his back; his left arm raised at an angle and fingers forming a circular opening, this would probably originally have housed a bow, the right hand extended forward and holding a patera; the hair gathered in a bun at the nape of the neck with a central partition and long locks falling on his shoulders, the hair skilfully tied in two raised locks on top of the head; mounted on a base and housed in a custom-made leatherette case. [No Reserve] £2,000 - 3,000

PROVENANCE

Weber collection, 1980s. Collection of a Kensington gentleman. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 10751-177419.

LITERATURE

See Rolland, H., Bronzes Antiques De Haute Provence, Paris, 1965, item 443; see also for another example of Apollo in a similar pose cf. Zadoks-Josephus, A.N., Jitta Peters, W.J.T., Roman Bronze Statuettes from the Netherlands, vol. I, Groningen, 1967, pp.2 & 3, pl.1; for discussion on statuettes of Apollo with patera in cult places, see Fogolari, G. & Gambacurta, G., Materiali preromani e romani del santuario di Lagole di Calalzo al Museo di Pieve di Cadore (Collezioni e Musei Archeologici del Veneto, 44), Roma, 2001; Bolla, M., ‘Bronzi figurati romani da luoghi di culto dell’Italia settentrionale’ in LANX, 20 (2015), pp. 49-143.

FOOTNOTES

These small statuettes of divinities could have been used in a public cult milieu or for domestic worship. Four statuettes of Apollo were found in the Sanctuary of Lagole, in the province of Belluno (Italy) (Fogolari & Gambacurta, 2001, pp.130-134, nos.150-153), one of noteworthy dimensions (circa 30cm high), also holding a patera in the right hand. Within the small bronze statuettes found in the Lagole Sanctuary, the most commonly represented divinities were Hercules and Apollo.

78 ROMAN DECORATED MOUNT WITH INSCRIPTION

3RD-4TH CENTURY A.D. 4⅜ in. (424 grams, 11.4 cm wide).

A substantial bronze mount or base fitting for the insertion of the lamp's stand or shaft, discoid with raised hub and hole, stepped profile; median flat band with enigmatic pointillé Greek inscription ' C C '. [No Reserve] £400 - 600

PROVENANCE

Acquired in London in 1982. Property of a central London gentleman.

LITERATURE Cf. Arce, J., Ensoli, S. & La Rocca, E., Hispania Romana. Da Terra Di Conquista a Provincia dell'Impero, Venezia, 1997, p.363, fig.109.

FOOTNOTES

This morphology, well attested in Rome, derives from refined Hellenistic models. The inscribed decoration is arranged around the central area; the first word is probably referring to ' (sun, sunlight), possibly in connection with the function of the lamp. However, the expression ' ' could also refer to a Christian martyrdom, considering 'B =B ' =heavy, in sense of bearing the weight of the nails ( ) and therefore ‘bearing the weight of the nails themselves’ ( as contraction of ). An alternative translations is to read it ' ...' with the meaning of ' - - the nails - - π - hit - μ πthrough which', i.e. "Hit the nails through which" [...].

79

ROMAN VESSEL HANDLE WITH GODDESS CYBELE

1ST-3RD CENTURY A.D.

7¼ in. (730 grams total, 18.3 cm high including stand).

A substantial copper-alloy handle composed of an arched, lentoidsection handle with broadly discoid terminal with volutes to shoulders and shell finial below, the terminal displaying a bust of the goddess Cybele in relief; accompanied by a custom-made display stand.

£400 - 600

PROVENANCE London art market, 1979. Property of a central London gentleman.

80 ROMAN REPOUSSÉ PLAQUE WITH MUSE TERPSICHORE

4TH CENTURY A.D.

4⅛ in. (41 grams total, 10.6 cm high including stand).

A square plaque from a casket or votive panel with the embossed image of the Muse Terpsichore, dressed in a short sleeved tunica talaris, standing with the weight on the right leg, the other leg bent in front of the body, the right hand holding a lyre hanging from a strap, in the left hand a staff; inscription in late Latin beside the right part of the head reading 'TEPSECORE'; the figure framed with an embossed edge; accompanied by a custom-made display stand.

£800 - 1,000

PROVENANCE

Acquired in the 1970s.

Ex London collection.

LITERATURE Cf. Humer, F., Kremer, G., Pollhammer, E., Pülz, A., AD 313 Von Carnuntum zum Christentum, Bad Voslau, 2014, nos.40, for similar plaques with divinities, especially no.642, with the Muses.

FOOTNOTES

The plaque probably came from a casket similar to the one of Carnuntum, which represent the images of the Muses on one side and biblical scenes to the other side. These scenes were popular motifs in Late Antiquity, where caskets with Christian and mythological images were widespread, especially in Pannonia.

For charges payable in addition to the final hammer price of each Lot see paragraphs 19 & 26 of buyer's T&C's

81

ROMAN GOLD RING WITH PORTRAIT GEMSTONE

3RD CENTURY A.D. ⅞ in. (4.99 grams, 22.79 mm overall, 18.16 mm internal diameter (approximate size British K½, USA 5½, Europe 10.58, Japan 10)).

A gold finger ring with splayed shoulders, ellipsoid bezel with inset nicolo gemstone, intaglio profile female bust. £800 - 1,000

PROVENANCE Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

LITERATURE Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, item 227, for type.

82

ROMAN GOLD RING WITH CAPRICORN INTAGLIO 3RD CENTURY A.D. ¾ in. (5.42 grams, 20.53 mm overall, 16.74 mm internal diameter (approximate size British L½, USA 6, Europe 11.87, Japan 11)).

A gold ring composed of a hoop with bevelled interior, expanding slightly at the shoulders to an oval bezel set with a carnelian or sard intaglio engraved with a capricorn advancing left. £800 - 1,000

PROVENANCE UK private collection before 2000. UK art market. Property of a London gentleman. LITERATURE Cf. The V&A Museum, accession number M.223-1917, for type.

83 ROMAN GOLD RING WITH MERCURY GEMSTONE 1ST-2ND CENTURY A.D. 1 in. (13.51 grams, 24.98 mm overall, 19.77 mm internal diameter (approximate size British M, USA 6, Europe 12.46, Japan 12)).

A gold finger ring with inset ellipsoid jasper cloison, intaglio Mercury standing with caduceus in one hand and cockerel in the other and wearing a petasos, a dog by his leg. £1,500 - 2,000

PROVENANCE Ex private collection, 1980s. Acquired on the UK art market in the 1990s.

LITERATURE Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, item 191, for type.

84

ROMAN MAGICAL GEMSTONE IN GOLD RING 1ST CENTURY A.D. 1 in. (4.82 grams, 27.70 mm overall, 18.12 mm internal diameter (approximate size British P½, USA 7¾, Europe 16.86, Japan 16)).

A carnelian cloison gemstone engraved with two opposed

PROVENANCE

Acquired

LITERATURE

85

ROMAN GOLD RING WITH

A

PROVENANCE

LITERATURE

FOOTNOTES

86

ROMAN GOLD RING WITH EMERALD PORTRAIT OF YOUNG MARCUS AURELIUS

CIRCA 140 A.D.

1 in. (5.92 grams, 26.22 mm overall, 17.48 mm internal diameter (approximate size British N, USA 6½, Europe 13.72, Japan 13)).

A high-quality emerald (green beryl) intaglio portrait of Marcus Aurelius as a young man, in profile left; the military cloak (paludamentum) in connection with the extreme youth of the subject suggesting that the portrait is not a private one, but must be of an imperial prince; the style of the carving and hairstyle of the subject clearly belong in the Antonine era; the material too suggests an imperial subject: the stone, hard, brittle and very difficult to carve, was highly prestigious in such large sizes; Roman examples of such portraits in emerald or aquamarine are very rare and usually represent members of the imperial family; the cabochon set into a contemporary gold finger ring comprising a flat-section hoop with granules to the shoulders and an ellipsoid bezel.

£5,000 - 7,000

FOOTNOTES Dr Ittai Gradel writes: 'The portrait in all likelihood represents Marcus Aurelius as a young prince and heir to the imperial throne, c. AD 140. The only possible alternative would appear to be his son Commodus as a youth, c. 175 AD. Like young Marcus, Commodus’ youth portrait is well known from coins (and sculpture). Young Commodus’ hair is rather less curly, however, his neck thinner and his whole appearance rather more delicate and effete than the youth portraits of his father, which seem to fit the gem image better; further, the split in the hair fringe on the forehead seems a deliberate attempt to reproduce he characteristic hair parting in the same location in young Marcus’ main (only) sculptural portrait type. Though a close call, Marcus rather than Commodus should therefore be the subject here.'

PROVENANCE Acquired 1970-1990. Ex property of a deceased lady. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114493-195583.

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 168, for ring type; also for ring/bezel shape Koch coll. no.349 (2nd3rd century); and for the bezel see Marshall, F. H., Catalogue of the Finger Rings, Greek, Etruscan, and Roman, in the British Museum, 1907, 87, no.509.

87

ROMAN RING WITH NUBIAN BUST CAMEO

2ND CENTURY A.D.

1⅛ in. (7.53 grams, 28.75 mm overall, 20.36 mm internal diameter (approximate size British V, USA 10½, Europe 23.77, Japan 22)).

A gold finger ring with granules flanking an ellipsoid cell containing an onyx cameo facing bust of a Nubian with dressed hair executed in the half-round.

£5,000 - 7,000

PROVENANCE

Acquired 1970-1990. Ex property of a deceased lady. Accompanied by scholarly note TL5449 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114494-195582.

LITERATURE

Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 419, for type; and for the bezel see Marshall, F. H., Catalogue of the Finger Rings, Greek, Etruscan, and Roman, in the British Museum, 1907, 87, no.509.

88 ROMAN CAMEO WITH PRIVATE COUPLE EARLY 3RD CENTURY A.D. ⅝ in. (1.73 grams, 17 mm).

A sardonyx cameo depicting the busts of a man and woman facing, with detailing to their robes, hair and faces. £2,000 - 3,000

PROVENANCE

Acquired in the 1970s. From a private London collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114495-195160.

For

Lot

the final hammer price

buyer's T&C's

89

ROMAN CAMEO OF A NOBLEMAN

2ND-3RD CENTURY A.D.

1 in. (53.3 grams, 24 mm).

A cameo gemstone portraying a private portrait of a nobleman in profile right, with short hair, beardless face, long neck and garment pinned at the proper right shoulder; set onto a later polished stone base; some restoration. £500 - 700

PROVENANCE Acquired 1960s-1990s. From the late Alison Barker collection, a retired London barrister.

90

LARGE ROMAN GOLD SHIELD EARRING PAIR

CIRCA 2ND CENTURY A.D.

1¾ - 1⅞ in. (5.84 grams total, 46-48 mm).

A matching pair of gold earrings, each composed of a tapering hoop with plait-effect lower body and domed plaque, cluster of spheres below adorned with granules. [2] £800 - 1,000

PROVENANCE Acquired 1969-1999. London collection of the late Mr S.M., thence by descent.

LITERATURE

Cf. The V&A Museum, accession number M.18-1943, for a broadly similar earring.

91

ROMAN LAPIS LAZULI AND GOLD BEAD NECKLACE

CIRCA 1ST-3RD CENTURY A.D. 28⅜ in. (52 grams, 72 cm long).

A restrung necklace composed of graduated lapis lazuli beads of biconical type, interspersed with hollow-formed sheet gold beads with decorative vertical ribbing and plain bodies. £700 - 900

PROVENANCE Acquired 1980-2015. Ex Abelita family collection.

T&C's

92

LATE ROMAN SILVER LITURGICAL SPOON FOR KYRIAKOS

EARLY 5TH CENTURY A.D. 9½ in. (55 grams, 24 cm long).

A silver spoon with a narrow egg-shaped bowl, the base of the bowl decorated with engraved palm branches; the long stem attached to the bowl with a round disc set vertically, the square-section part of the stem inscribed with '+KYPIAKO' (for Kyriakos), rest of the stem round-section and decorated with fine grooves, tapering slightly towards the balustered finial. £2,000 - 3,000

PROVENANCE

Ex Gorny & Mosch, 14 December 2010, lot 483 (part). Property of a European lady. Accompanied by copies of the relevant Gorny & Mosch catalogue pages. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114496-195521.

LITERATURE

Cf. Shelton, K.J., The Esquiline Treasure, London, 1981, pl.34; Riha, E. & Stern, W.B., Die Römischen Löffel aus Augst und Kaiseraugst, Basel, 1982, items 218-221, for type; Johns, K. and Potter, T., The Thetford Treasure, Roman jewellery and silver, Dorchester, 1983, items 50-82, for type; Gabra, G., Coptic Monasteries, Egypt’s Monastic Art and Architecture, Cairo-New York, 2002; Spier, J., Treasures of the Ferrell Collection, Wiesbaden, 2010, p.278, items 218-222, for type; Humer, F., Kremer, G., Pollhammer, E., Pülz, A., AD 313 Von Carnuntum zum Christentum, Bad Voslau, 2014, nos.338-339, for similar specimens.

93 LATE ROMAN SILVER 'TO RECEIVE THE BODY OF CHRIST' LITURGICAL SPOON EARLY 5TH CENTURY A.D. 9¾ in. (70 grams, 25 cm long).

A silver spoon with a narrow egg-shaped bowl, the base of the bowl decorated with engraved palm branches; the long stem attached to the bowl with a round disc set vertically, the square-section part of the stem inscribed with ' μ μ ' (to receive the Body of Christ), rest of the stem round-section and decorated with fine grooves, tapering slightly towards the conical finial. £2,000 - 3,000

PROVENANCE

Ex Gorny & Mosch, 14 December 2010, lot 483 (part).

Property of a European lady.

Accompanied by copies of the relevant Gorny & Mosch catalogue pages. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114497-195523.

LITERATURE

Cf. Shelton, K.J., The Esquiline Treasure, London, 1981, pl.34; Riha, E. & Stern, W.B., Die Römischen Löffel aus Augst und Kaiseraugst, Basel, 1982, items 218-221, for type; Johns, K. and Potter, T., The Thetford Treasure, Roman jewellery and silver, Dorchester, 1983, items 50-82, for type; Gabra, G., Coptic Monasteries, Egypt’s Monastic Art and Architecture, Cairo-New York, 2002; Spier, J., Treasures of the Ferrell Collection, Wiesbaden, 2010, p.278, items 218-222, for type; Humer, F., Kremer, G., Pollhammer, E., Pülz, A., AD 313 Von Carnuntum zum Christentum, Bad Voslau, 2014, nos.338-339, for similar specimens.

94

LATE ROMAN SILVER LITURGICAL SPOON FOR JACOB

EARLY 5TH CENTURY A.D. 10 in. (57 grams, 25.5 cm long).

A silver spoon with a narrow egg-shaped bowl; the long stem attached to the bowl with a round disc set vertically, the square-section part of the stem inscribed with '+ ' (Jacob), the same name in the form of a Christian monogram inscribed to the side of the disc; rest of the stem round-section and decorated with fine grooves, tapering slightly towards the balustered finial. £2,000 - 3,000

PROVENANCE

Ex Gorny & Mosch, 14 December 2010, lot 483 (part).

Property of a European lady.

Accompanied by copies of the relevant Gorny & Mosch catalogue pages. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114498-195522.

LITERATURE

Cf. Shelton, K.J., The Esquiline Treasure, London, 1981, pl.34; Riha, E. & Stern, W.B., Die Römischen Löffel aus Augst und Kaiseraugst, Basel, 1982, items 218-221, for type; Johns, K. and Potter, T., The Thetford Treasure, Roman jewellery and silver, Dorchester, 1983, items 50-82, for type; Gabra, G., Coptic Monasteries, Egypt’s Monastic Art and Architecture, Cairo-New York, 2002; Spier, J., Treasures of the Ferrell Collection, Wiesbaden, 2010, p.278, items 218-222, for type; Humer, F., Kremer, G., Pollhammer, E., Pülz, A., AD 313 Von Carnuntum zum Christentum, Bad Voslau, 2014, nos.338-339, for similar specimens.

95

ROMAN MARBLE PEPLOPHOROS STATUE

1ST CENTURY B.C.-1ST CENTURY A.D. OR LATER 19 in. (15.6 kg, 48 cm including stand).

A white marble female figure modelled in the round standing with the weight on her left leg, the right leg brought forward slightly; wearing a Doric peplum characterised by an apoptygma adhering to her prominent breasts, fastened at the shoulders with two oval fibulae; the sleeveless peplos clinging to her legs, giving them shape and forming vertical folds on the sides; holding a coiled snake in her right hand, the left arm raised and reaching towards the curls resting on her shoulder; likely a priestess of Isis; separately-modelled head now absent; mounted on a custom-made display stand.

£3,000 - 4,000

hammer price

PROVENANCE

French collection, 1990s-early 2000s. with Vermot & Associés, Paris, 10 November 2018, lot 103. From an important Paris gallery, France. Ex private Parisian collection. Accompanied by an academic report by Dr Laura Maria Vigna. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114499-194060.

LITERATURE Cf. Paribeni, E., in 'Enciclopedia dell'Arte Antica, vol. IV, s.v. 1961, Igea, pp.9799; Antichità di Vílla Doria Pamphilj, Roma, 1977, p.40, n, 4, Tav. VI; Moreno, P., Stefani, C., Galleria Borghese, Milano, 2000, p.178, n.11.

FOOTNOTES

The female figure wears a woollen peplum (from which derives the appellation of peplophoros) with apoptygma, laterally forming two scrolls, from one of which, on the right side, is hanging a tassel. In her right hand she holds a snake, gripping it with her leg to keep it under control. In Greek mythology the serpent is associated with the most important goddesses (Isis, Cybele, Demeter, Athena) as an emblem of the natural sacred and of nascent life. Hygeia / Salus, a popular beneficial and positive health divinity, also has the snake as an attribute in many of her representations, in both Greek and Roman art.

96

ROMAN MARBLE STATUE HEAD

1ST CENTURY B.C.-1ST CENTURY A.D. 18¼ in. (17.8 kg total, 46 cm including stand).

A characteristic, rugged portrait with hairstyle typical of princes of the period, or of the god Hermes; the portrait representing a young man with a broad and flat face with a prominent forehead, naked brow, rounded eyelids and clearly defined lines around the eyes; detailed eyes and visible pupils, shallow eyebrows and pronounced lips; realistic hair arranged in locks on the forehead and ending with a precise line at the base of the neck; a recess to each side of the head for attachment of ears or possibly of headgear; mounted on a custommade display stand.

£4,000 - 6,000

PROVENANCE

French collection, 1990s-early 2000s. Previously with Hampel Fine Art, Munich, Germany. with Vermot & Associés, Paris, 7 October 2017, lot 90 (65,000-70,000 Euros). From an important Paris gallery, France. Ex private Parisian collection. Accompanied by an academic report by Dr Raffaele D'Amato. Accompanied by scholarly note TL05450 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114500-194057.

LITERATURE See Bianchi Bandinelli, R., L'arte Romana nel centro del potere, dalle origini alla fine del II secolo d.C., Roma, 1969; Scrinari, V. S. M., Sculture Romane di Aquileia, Roma, 1972; Agnoli, N., Museo Archeologico Nazionale di Palestrina, Le sculture, Roma, 2002; Goddio, F., Fabre, D., Egitto, Tesori Sommersi, Moncalieri, 2009; Gagarin, M., Fantham, E., The Oxford Encyclopedia of Ancient Greece and Rome volume I, Oxford, 2010.

FOOTNOTES

The face is that of a young subject, portrayed in a naturalistic way, with the intention to represent a king or a young Ptolemaic prince. The absent nose and the worn surface make it difficult to completely understand the physiognomy, although the prolonged lines of the eyes, extending to the corners, reveals a characteristic Egyptian trait. The representation of hair is not Egyptian, however, but appears in many Ptolemaic and Roman statues with Greek features. A parallel can be found in the colossal head recovered from the sea in the harbour of Alexandria (Goddio, Fabre, 2009, fig.20).

97

ROMAN MARBLE HEAD OF A PUTTO 1ST CENTURY B.C.-1ST CENTURY A.D.

10⅛ in. (4.04 kg total, 25.7 cm high including stand).

A finely modelled head of a putto with delicate features, realistic wavy coiffure showing ringlets nested around the left ear and tracing the nape of the neck; almond-shaped eyes with thick eyelids, aquiline nose, full lips and soft, rounded chin; mounted on a custom-made display stand.

£2,000 - 3,000

PROVENANCE

Acquired in the 1970s.

Ex William Froelich collection, New York, U.S.A.

Private East Coast, U.S.A. collection.

Acquired from Artemis Gallery, Louisville, Colorado, U.S.A. in 2019.

Private collection of Professor Kenneth Graham, London, UK.

Accompanied by an Artemis Gallery certificate of authenticity.

Accompanied by an archaeological report by Dr Raffaele D’Amato.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114501-194243.

LITERATURE

Cf. Felletti Maj, B.M., Museo Nazionale Romano, I Ritratti, Roma, 1953; Bianchi Bandinelli, R., L'arte Romana nel centro del potere, dalle origini alla fine del II secolo d.C., Roma, 1969; Scrinari, V. S. M., Sculture Romane di Aquileia, Roma, 1972, no.153; Brizzolara, A.M., Le sculture del Museo Civico Archeologico di Bologna, La collezione Marsili, Comune di Bologna, Bologna, 1986; Agnoli, N.,

Museo Archeologico Nazionale di Palestrina, Le sculture , Roma, 2002; Gagarin, M., Fantham, E., The Oxford Encyclopedia of Ancient Greece and Rome, volume I, Oxford, 2010; similar heads can be found in Aquileia (Scrinari, 1972, cat.153-154, pp.53-54).

98

ROMAN MARBLE HEAD OF CUPID 2ND-3RD CENTURY A.D. 5½ in. (1.5 kg, 14 cm).

A carved marble head of Cupid (Greek Eros) with rounded fleshy features, wavy hair swept back from the temples; stand bar protruding from the underside. £2,000 - 3,000

PROVENANCE Acquired between 1970-1989. Private collection, U.S.A. with Christie's, London, 14 April 2011, lot 291. Property of a S.W. London gentleman. Accompanied by copies of the relevant Christie's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114502-195981.

99

LARGE ROMAN AUBERGINE GLASS JAR

3RD-4TH CENTURY A.D. 7 in. (246 grams, 18 cm high).

An aubergine glass jar with onion-shaped body, cylindrical neck, trumpet-style mouth and rolled lip; two applied green glass handles and pie crust frill around neck, body with decorative raised lobes; some iridescence. £1,500 - 2,000

PROVENANCE

Mitsukoshi, Tokyo, Japan, 1981.

Kokusai Bijutsu: Ninth International Art Exhibition, no.46. Acquired Bonhams, New Bond Street, 28 November 2019, lot 146. Ex J.L. collection Surrey, UK. Accompanied by copies of the Bonhams catalogue pages.

LITERATURE

Cf. The British Museum, museum number 1890,1115.3, for a similar vessel. 100

ROMAN GLASS FOOTED BEAKER WITH TRAIL 4TH-5TH CENTURY A.D. 4¼ in. (72 grams, 10.8 cm high).

A green glass beaker composed of a gently tapering U-shaped body with a more convex upper body, everted rim and domed foot, decorative applied trails to the equator. £400 - 600

PROVENANCE

Paris collection, 1990s. From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE

Cf. The Corning Museum of Glass, accession number 83.1.3, for similar. 101

ROMAN YELLOW-GREEN GLASS MYTHOLOGICAL BEAKER

LATE 1ST -EARLY 2ND CENTURY A.D. 5 in. (102 grams, 12.7 cm high).

A mould-blown yellow-green glass beaker of tapering cylindrical form, displaying a moulded figural frieze composed of four standing figures separated by columns with capitals and gabled arches, all atop a stringcourse; the figures are apparently: the god Hercules walking in profile right, both knees bent and a calf slung over his left shoulder; a figure of Hymen (or another season) walking in profile right, wearing a knee-length chiton with chlamys; the god Mercury (Greek Hermes) standing nude in profile right, holding a ram's skull in his left hand and a caduceus in his right; the personification of Winter wearing a long chiton and himation carrying what is possibly a dead boar in her right hand; traces of iridescence; restored. £1,000 - 1,400

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

LITERATURE Cf. The Corning Museum of Glass, accession number 68.1.9, for similar dated 75-125 A.D.

102

ROMAN SIDONIAN GLASS AMPHORISKOS

1ST CENTURY A.D.

2⅞ in. (17.6 grams, 73 mm).

A mould-blown glass amphoriskos composed of an ovoid body, cylindrical neck, everted rim and twin applied handles; decorated with a medial band of swirl motifs between fluting; iridescent surfaces; rim chipped. £400 - 600

PROVENANCE

French collection, 1990s-early 2000s.

Acquired at a Paris auction.

From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE

Cf. The Metropolitan Museum, accession numbers and 17.194.223, for similar decorative motif and shape using different coloured glass.

103

ROMAN CLEAR CUT GLASS BEAKER

CIRCA 4TH CENTURY A.D.

4⅜ in. (189 grams, 11 cm wide).

A translucent glass beaker or other vessel with wheel-cut bands creating registers of ellipses and circles. £700 - 900

PROVENANCE

Acquired on the French art market, 1990s-early 2000s. From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE

Cf. The Corning Museum of Glass, accession number 300-399, for a very similar example.

104

ROMAN GLASS BEAKER WITH BLUE STIPPLES

CIRCA 4TH CENTURY A.D.

3½ in. (100 grams, 88 mm wide).

A pale green glass beaker or lamp with convex wall and convex everted rim; applied blue glass ovals and clusters of stippled dots around the shoulder; iridescent surfaces. £400 - 600

PROVENANCE Paris collection, 1990s. From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE

Cf. The Metropolitan Museum, accession numbers 50.1.31 and 66.1.262, for similar form and decoration.

ROMAN TRANSLUCENT WHITE MARBLED GLASS UNGUENTARIUM

1ST CENTURY A.D. 2 in. (14.9 grams, 50 mm).

A miniature piriform glass bottle with everted rim and opaque white marbling; iridescent surfaces. £500 - 700

PROVENANCE

Acquired 1969-1999. London collection of the late Mr S.M., thence by descent.

LITERATURE Cf. The Metropolitan Museum, accession number 74.51.195, for type. 106

ROMAN OPAQUE WHITE GLASS VESSEL

1ST-2ND CENTURY A.D. 2⅝ in. (32.5 grams, 65 mm wide).

An opaque white glass cup or other vessel with trumpet-style neck and rim, slightly convex body and everted foot. £600 - 800

PROVENANCE Acquired 1969-1999. London collection of the late Mr S.M., thence by descent. 107

ROMAN MILLEFIORI GLASS COSMETIC DISH 1ST-2ND CENTURY A.D. 5⅛ in. (46.6 grams, 13 cm wide).

An ellipsoidal dish in green and yellow millefiori glass imitating foliage, with a central almond-shaped bowl. £2,500 - 3,500

PROVENANCE Paris collection, 1990s. From an important Paris gallery, France. Ex private Parisian collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114503-195593.

108

ROMAN LAMP WITH A FANTASTIC BEAST BY QUINTUS IVSTVS

3RD-4TH CENTURY A.D.

4¾ in. (160 grams, 11.9 cm wide).

A ceramic oil lamp with broad body and short nozzle, lug handle to the rear; decorated with low-relief foliage and a rampant beast; underside with maker's inscription 'QVN/ IVSPI/ ORETC[M]/NS[.]'.

£300 - 400

PROVENANCE

Ex London gallery 1980s.

From the collection of a deceased Lancashire gentleman.

LITERATURE

See Bussière, J., Lindros Wohl, B., Ancient Lamps in the J. Paul Getty Museum, Malibu, 2017, p.396, no.279, for the type.

FOOTNOTES

This group (Bussière D X 10 lamps of Loeschcke type VIII) shows various unusual shoulder decorations: vine tendrils, connected spirals, garlands, rows of dots, mouldings, angular lines forming a row of plain triangles, small heartshaped motifs, and rows of ornate triangles. The bottom shows possibly one of the three known workshop marks, which the scholars interpret as: 'Q V I N T V S I V S [ T V S ] P I C T O R E T C E M E N S' (Quintus Ivstvs, designer and lamp maker).

109

ROMAN HERODIAN OIL LAMP WITH WINGED GOD

1ST CENTURY B.C.-1ST CENTURY A.D.

6¼ in. (280 grams, 16 cm).

A large ceramic oil lamp with large pierced lug handle, broad body and volute scroll flanking the nozzle; discus with a bearded facing male bust flanked by wings (possibly Zeus), annulets and feathers on the shoulder.

£300 - 400

PROVENANCE

Acquired 1990s. Private collection of a Cambridgeshire, UK, gentleman.

LITERATURE

Cf. Młynarczyk, J., ‘Terracotta oil lamps from Qumram: The Typology’ in Revue Biblique, January 2013, T.120-1, pp.99-133, fig.5, lett. AF8.

FOOTNOTES

In terms of the shape, this lamp is clearly a mould-made counterpart/development of the wheel-made 'Herodian' lamps. The shoulders of this category are usually adorned by a floral wreath (but here geometric patterns are predominant), and they have volutes or fins projecting at the joint, also repeated on the underside of the nozzle. P. Lapp describes the type as the decorated “Herodian” lamp and dates it to 50-31 BC. Smith, while discussing this type of lamp from Qumran, not only states that it was found in a pre-31 B.C. context, but also points to a number of Hellenistic features, including the decoration of laurel leaves and berries reminiscent of some Ephesian-type lamps. Contrary to that, Rosenthal and Sivan date the beginning of the type much later, to A.D. 70-75.

110

ROMAN REDWARE LAMP WITH RADIATE HEAD OF SERAPIS

3RD-4TH CENTURY A.D.

4¾ in. (145 grams, 12.2 cm wide).

A squat terracotta oil lamp with thick nozzle and lug handle, band of leaves and bunches of grapes to the discus, surrounding a bust of Serapis with modius and radiate crown; maker's initials to the underside 'S. S. L.'.

£300 - 400

PROVENANCE

Ex London gallery 1980s.

From the collection of a deceased Lancashire gentleman.

LITERATURE

See Bussière, J., Lindros Wohl, B., Ancient Lamps in the J. Paul Getty Museum, Malibu, 2017, p.349, for the type, close to the Atlante VI.

FOOTNOTES

Serapis was a Graeco-Egyptian god, whose cult was popularised during the 3rd century B.C. on the orders of Ptolemy I of Egypt, to facilitate the religious syncretism of his kingdom. During the Roman Empire his image was widely diffused in the east, and the image of Zeus-Serapis was often fitted with the radiate crown, linking it with the cult of Sol Invictus; the position as the main divinity of the Roman Pantheon strengthened by Lucius Domitius Aurelian (270275 A.D.).

111

ROMAN FRESCO OF A MILITARY COMMANDER

1ST CENTURY B.C.-1ST CENTURY A.D. 28 x 18 in. (12.3 kg, 71 x 46 cm).

An imposing fresco fragment representing a young military commander dressed in high rank Roman uniform, standing with his face slightly turned to the right and leaning on his left leg, the right leg brought slightly forward; the right hand holding a long spear of which the butt is visible, a round flat shield of cavalry type (parma) on his left arm; gladius hanging from a baldric on the left side of the body; the warrior wearing a short sleeveless tunic of Greek type, off-white in colour with light red reflexes, decorated by two white segments in the lower skirt, and a military cloak of cerulean colour, arranged over a muscled bronze torso armour; the legs protected by bronze greaves and head by a bronze helmet restored as an Italic type Buggenum surmounted by a white cylinder from which a horsehair crest emerges, some restoration; mounted. £12,000 - 17,000

PROVENANCE

Acquired 1970s-1990. North American private collection. with Sotheby's, London, 9 July 1984, lot 224. Accompanied by an archaeological report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10647-174367. Accompanied by a copy of the Sotheby's catalogue pages.

LITERATURE

The piece shows compositional similarities with the fresco of the House of the Vettii in Pompeii, representing the god Mars, cf. D’Amato, R., Sumner, G., Arms and Armour of the Imperial Roman Soldier: From Marius to Commodus, 112 BC-AD 192, London, 2009, fig.86.

FOOTNOTES

The fresco has been previously interpreted as a representation of Alexander the Great, but a more careful analysis of the military equipment worn by the warrior allows us to consider it as a character from Roman history or mythology, like the god Mars or the hero Marcus Iunius Brutus, Magister Equitum of the first Roman Res Publica, who freed the city from Etruscan tyranny. The bronze greaves and muscled armour, which was from the 1st century B.C., usually reserved for military commanders, associated with the paludamentum suggests a high rank graduate of the Augustan or even of Caesar’s army, maybe a military tribune, as the model for the figure. However, his cerulean cloak could allow the identification with a Magister Equitum (cavalry commander) being the cerulean and blue associated with Neptune or Poseidon, protector of the horses. Also the combination of a cavalry shield, the parma, with the long cavalry spear and the Buggenum helmet (or the Boetian helmet restored as such) are visible on Volterra’s urns as fittings of 1st century B.C. Roman cavalrymen. If the man represented is a Magister Militum, and the original fresco referred to episodes of Roman history, the identification with Brutus can be plausible, although the fresco, before restoration, missed the upper part of the helmet. If the Geminae Pinnae (twin plumes) were originally visible, we cannot exclude the interpretation of the figure as the god Mars, a more consonant image with the celebration of the Julio-Claudian family and its divine origins. The type of represented uniform could suggest a dating to the late Consular period.

112

ROMAN BONE INLAY OF MINERVA

2ND CENTURY B.C.-2ND CENTURY A.D.

5½ in. (2¼ in.) (124 grams total, 14 cm high (inlay 60mm)).

A carved bone inlay of the goddess Minerva (Greek Athena), with detailing to her garments and helmet, her head in profile facing right; mounted on a wooden display frame.

£500 - 700

PROVENANCE

French collection, 1990s-early 2000s. with Vermott and Associates, 16 November 2019, lot 43. From an important Paris gallery, France.

Ex private Parisian collection.

LITERATURE

Cf. The British Museum, museum number 1868,0620.361, for a broadly comparable carving.

113

BYZANTINE MARBLE RELIEF WITH ARCHITECTURAL FAÇADE

CIRCA 7TH CENTURY A.D.

36⅝ in. (81.8 kg total, 93 cm high including stand).

A large and imposing covering slab with high-relief design of an architectural façade comprising a three-tiered arched portal with offset tegula detailing in early Christian art, supported on three pairs of foliate-headed columns with socle bases and imitation of ashlar stonework behind; within the upper arch, two smaller plain arches, each supported by a reserved cross with rebated faces and an expanding-arm cross extending to the vault of the arch above; a central column flanked by two reserved cross motifs within the lower portal, each with a segmented panel to each arm, and five round sockets to the centre to accept inset bosses; the lower edge with ashlar stonework detailing; mounted on a custom-made stand. £4,000 - 6,000

PROVENANCE

French collection, 1990s-early 2000s.

Ex Vermot & Associés, Paris, France, 2 August 2020, lot 57.

From an important Paris gallery, France.

Ex private Parisian collection.

Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by scholarly note TL05448 by Dr Ronald Bonewitz.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114505-195297.

LITERATURE

Cf. Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos.729-730 (2293 and 2251), vol.II, pp.526-528; Sheppard, C.D., ‘Byzantine Carved Marble Slabs’ in The Art Bulletin, 51:1, 1969, pp.65-71, figs.1-3.

114

BYZANTINE COSMATESQUE MOSAIC PANEL 12TH-13TH CENTURY A.D. 16¼ in. (2.08 kg total, 41 cm including stand).

A rectangular marble floor panel recalling similar workmanship to the floor of the Sistine Chapel, comprising a large central circular panel in porphyry, within a border composed of small triangles, the larger motif ornamented with rhomboid and triangular elements in green and porphyry; each spiral centre enclosed by a circular panel in different coloured stone; the composition framed by pelta-shaped panels set with triangular and rhomboid stones, a small triangle to each corner; accompanied by a custom-made display stand. £4,000 - 6,000

PROVENANCE

French gallery, Paris, 1990s. From a family collection. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114506-195308.

LITERATURE See Boito, C., Architettura Cosmatesca, Torino, 1860; Hutton, E., The Cosmati, The Roman Marble Workers of the XIIth and XIIIth Centuries, London, 1950; Tosca, P., Storia dell’Arte Italiana, il medioevo, vol. III, Torino, 1965; Matthiae, G., 'Componenti del gusto decorativo cosmatesco,' in Rivista dell'Istituto Nazionale di Archeologia e Storia dell'Arte, vol. I, 1952, pp.249–281; Cigola, M., 'Mosaici pavimentali cosmateschi. Segni, disegni e simboli,' in Palladio, Nuova serie, anno VI n. 11, Giugno, 1993, pp.101–110; the composition of the mosaic recalls the floors of the most important churches in Rome, like the floor of the Sistine Chapel (realised probably in 14th century for the previous building or Cappella Maggiore), or that of Santa Maria Maggiore (1145-1153 A.D.), San Giovanni in Laterano (14th century A.D.), Saint Clement (1099-1120 AD), Santi Quattro Coronati (13th century A.D.), Santa Croce in Gerusalemme (12th century A.D.) and many others.

FOOTNOTES

The Cosmatesque style was a characteristic type of ornamentation of Eastern Roman origin (opus alexandrinum) used by the Roman marble makers of the 12th and 13th centuries A.D. It embellishes floors, ciboriums and cloisters of churches by means of polychrome marble inlays of varied and imaginative geometric shapes. The wider use of this decoration began in the 12th century, at which time techniques were improved: the Cosmati floors were made with pieces of stone cut in various shapes and sizes, a property quite different from the mosaics in opus tessellatum, in which the motifs were made from small units all having the same size and shape, or from the opus sectile, intended to create representations with pieces of multicoloured marble cut out and arranged for this purpose. The stones used by Cosmati artists were often material salvaged from the ruins of ancient Roman buildings.

the final hammer price of each

paragraphs

26

115

115

BYZANTINE SGRAFFITO GLAZED BOWL

12TH-15TH CENTURY A.D.

5¾ in. (253 grams, 14.8 cm wide).

A conical bowl with inverted rim and plinth foot, glazed interior and exterior rim, geometric motif and swirls to the interior. £500 - 700

PROVENANCE

Ex private collection, 1980s. Acquired on the UK art market in the 1990s.

116

BYZANTINE GREEN AND BROWN GLAZED BOWL

CIRCA 15TH CENTURY A.D.

6¼ in. (278 grams, 16 cm wide).

A ceramic bowl with a shallow body and broad flange rim with raised lip, geometric scheme to interior bowl and rim. £400 - 600

PROVENANCE

The Collection of Sandro & Lidia Orsi, Ca'Mera, Varese. with Christie's, South Kensington, 19 July 2012, lot 116.

117

BYZANTINE GLAZED BOWL

CIRCA 14TH-15TH CENTURY A.D.

4 in. (88 grams, 10 cm wide).

A conical bowl with inverted rim, shallow foot and decorative glaze. £300 - 400

PROVENANCE

Ex private collection, 1980s. Acquired on the UK art market in the 1990s.

final hammer price

buyer's T&C's

118

BYZANTINE MOULD-BLOWN AUBERGINE GLASS JAR 5TH-8TH CENTURY A.D. 2¾ in. (58 grams, 69 mm high).

A mould-blown aubergine glass jar or flask with bulbous body featuring a 'net' design and trumpet-style neck and rim; shallow kickup to base; iridescent surfaces. £1,000 - 1,400

PROVENANCE

Acquired 1969-1999. London collection of the late Mr S.M., thence by descent.

119

BYZANTINE GOLD RING WITH MONOGRAM

6TH-7TH CENTURY A.D.

¾ in. (4.19 grams, 20.53 mm overall, 17.57 mm internal diameter (approximate size British M, USA 6, Europe 12.46, Japan 12)).

A gold ring with round-section hoop and discoid bezel with incuse cross monogram. £600 - 800

PROVENANCE Acquired 1970s-2000s. Ex Abelita family collection. LITERATURE Cf. Chadour, A.B., Rings The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 487, for type.

120

BYZANTINE GOLD ARCHITECTURAL RING CIRCA 7TH CENTURY A.D.

1¼ in. (6.73 grams, 31.30 mm overall, 18.94 mm internal diameter (approximate size British Q, USA 8, Europe 17.49, Japan 16)).

A gold finger ring with ropework filigree to the hoop and granulated borders, granule clusters to the shoulders, the bezel a model temple with openwork walls and domed cupola, granule detailing. £1,000 - 1,400

PROVENANCE

Ex private collection, 1980s. Acquired on the UK art market in the 1990s.

LITERATURE

Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, items 495, 496.

LARGE WESTERN ASIATIC BULL RHYTON WITH WHEELS

LATE 2ND-1ST MILLENNIUM B.C. 12 in. (3.5 kg, 30.5 cm wide).

A roughly capsule-shaped ceramic rhyton formed as a bull or ram with four wheels, pot-shaped vessel opening on the animal's beck, cylindrical neck with curled horns and short pouring spout, raised tail curled to one side of the body and showing incised detailing, decorative collar with pendant, boss to chest; later acrylic wheel axels. £1,200 - 1,700

PROVENANCE

Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1. Property of a North West London gentleman. Accompanied by an original thermoluminescence analysis report sample no.N122h91, from Oxford Authentication.

final hammer

123

123

ASSYRIAN TERRACOTTA HEAD OF A DEMON EARLY 1ST MILLENNIUM B.C. 6⅞ in. (803 grams total, 17.5 cm high including stand).

A ceramic figurine section, the head and upper body of a demon with thick ribbed skin, broad head with applied eyes, broad muzzle, gaping mouth with tongue protruding, thick crest behind the brow ridge, squatting posture with tail at the back; mounted on a custom-made stand.

£400 - 600

PROVENANCE Acquired 1969-1999. London collection of the late Mr S.M., thence by descent.

LITERATURE Cf. similar item in the British Museum under accession number 33.22, 458. 124

WESTERN ASIATIC HEAD OF A NOBLEMAN 2ND MILLENNIUM B.C. 7 in. (1.5 kg total, 18 cm high including stand).

A composition head depicting a nobleman with stylised features, with almond-shaped eyes beneath heavy brows, straight nose and thin lips, a pierced ornament in one ear, scalloped hairline; mounted on a custom-made display base with label reading 'Mirabaud Mercier 4851/38'.

£400 - 600

PROVENANCE French collection, 1990s-early 2000s. with Mirabaud Mercier Auction, Paris, France. From an important Paris gallery, France. Ex private Parisian collection.

125

URUK PERIOD, CIRCA 5500-3500 B.C.

2 in. (49 grams, 49 mm wide).

A rare spherical ceramic bulla envelope containing clay tokens, the exterior surface impressed with elaborate zoomorphic motifs, including a rampant lion, sheep, a bull and galloping horned ibex, together with a 'sacred tree'.

£1,500 - 2,000

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.

Thence by descent to family members.

Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

Accompanied by a copy of a previous illustrated typed catalogue page.

LITERATURE

Cf. The Oriental Institute Museum, Woods, C. ed., Visible Language: Inventions of Writing in the Ancient Middle East and Beyond, University of Chicago, 2010, p.68, for this type of object and the whole article for relevant discussion.

FOOTNOTES

The sacred tree depicted here appears on Uruk cylinder seals. Its presence alongside these specific animals suggests a possible association with the cult of Tammuz. The tokens sealed within the bulla are believed to have been used as part of the accounting process in Sumerian or early Uruk agriculture. The exterior surface of our bulla envelope is particularly densely populated with animals and constitutes a really exceptional example of this very rare type.

126

SCRIBAL SCHOOL CUNEIFORM TABLET

UR III, 2112-2004 B.C. 2¼ in. (59.9 grams, 56 mm).

A discoid ceramic tablet with one domed face, bearing cuneiform scribal text to both faces.

£500 - 700

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.

Thence by descent to family members.

Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

127

SUMERIAN FIELD PLAN TABLET

EARLY DYNASTIC, 2900-2334 B.C.

2¼ in. (80.1 grams, 57 mm).

A ceramic tablet with the principal discoid face displaying incised markings representing a field plan; rounded conoid reverse. £400 - 600

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.

Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

128

BABYLONIAN CUNEIFORM LETTER TABLET

2ND MILLENNIUM B.C.

2½ in. (133 grams, 63 mm).

A large portion of a ceramic tablet bearing the contents of a letter in multiple, tightly-grouped lines of cuneiform text to five of its six faces; tapering sub-rectangular cross-section. £400 - 600

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.

Thence by descent to family members.

Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

SUMERIAN CLAY BULLA ENVELOPE CONTAINING TOKENS

SUMERIAN CUNEIFORM TABLET

3RD-2ND MILLENNIUM B.C.

1½ in. (36 grams, 40 mm).

A sub-square ceramic tablet with rounded corners bearing multiple lines of cuneiform text to one face. £400 - 600

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.

Thence by descent to family members.

Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

130

SUMERIAN CUNEIFORM TABLET

3RD MILLENNIUM B.C.

1½ in. (46.5 gams, 40 mm).

A ceramic tablet bearing multiple lines of cuneiform text to two faces; roughly cuboidal in shape. £400 - 600

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members.

Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

131

MESOPOTAMIAN CUNEIFORM TABLET

3RD-2ND MILLENNIUM B.C. 2¾ in. (81 grams, 69 mm).

A ceramic pillow-shaped tablet with biconvex cross-section; displaying impressed cuneiform text to both broad faces and all four edges. £500 - 700

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.

Thence by descent to family members.

Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

This small collection is exceptional for the variety of types, including some very rare and well preserved examples.

132

MESOPOTAMIAN CUNEIFORM TABLET

2ND MILLENNIUM B.C. 5⅛ in. (319 grams, 13.2 cm).

A large pillow-shaped ceramic tablet of biconvex cross-section, columns of cuneiform text to both broad faces and two edges. £1,200 - 1,700

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples.

LITERATURE

Cf. Liverani, M., Antico Oriente, Storia, societa' ed economia, Roma, 1988, pp.608-609, fig.111, for type.

133

BABYLONIAN CUNEIFORM LETTER TABLET

2ND MILLENNIUM B.C.

3¾ in. (140 grams, 94 mm).

A ceramic tablet bearing a cuneiform letter, with text to each of its six faces; the tablet is rectangular in shape with a lentoid cross-section. £500 - 700

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.

Thence by descent to family members.

Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

134

OLD BABYLONIAN CUNEIFORM TABLET

2ND MILLENNIUM B.C. 2¾ in. (87 grams, 70 mm).

A rectangular ceramic tablet bearing cuneiform text to its two principal faces. £500 - 700

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.

Thence by descent to family members.

Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

135

OLD BABYLONIAN LITERARY CUNEIFORM TABLET

2ND MILLENNIUM B.C.

2¾ in. (123 grams, 70 mm).

A roughly pillow-shaped ceramic tablet, bearing multiple rows of cuneiform text to four of its six faces. £1,000 - 1,400

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members.

Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

Accompanied by a plastic envelope handwritten by Professor Lambert: 'No.5 (15) * / Old Babylonian, perhaps / literary extract'.

136

LARGE AND IMPORTANT OLD BABYLONIAN CUNEIFORM ADMINISTRATIVE TABLET

19TH-16TH CENTURY B.C. 7 in. (845 grams, 18 cm).

A bifacial sub-rectangular clay tablet accompanied by a copy of an old scholarly handwritten and signed note by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'A large and important Old Babylonian administrative document with columns of minute Babylonian cuneiform...' £2,000 - 3,000

PROVENANCE

Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.

Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

The collection is exceptional for the variety of types, including some very rare and well preserved examples.

Has been conserved and baked using British Museum guidelines. Accompanied by a copy of a scholarly note by Professor Wilfrid George Lambert FBA.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11507-196155.

WESTERN ASIATIC LAPIS LAZULI STONE CYLINDER SEAL WITH ANIMALS

2ND-1ST MILLENNIUM B.C.

¾ in. (8.17 grams, 21 mm).

A lapis lazuli cylinder seal with zoomorphic frieze composed of horned and winged quadrupeds advancing right, a bird in the field above; drilled vertically for suspension; accompanied by a museumquality impression. £500 - 700

PROVENANCE

Acquired 1980-2000s. Important collection of a London gentleman.

138

LARGE MESOPOTAMIAN CYLINDER SEAL WITH ANIMALS

3RD-2ND MILLENNIUM B.C.

1¾ in. (53.5 grams, 45 mm).

A large limestone cylinder seal bearing an incuse frieze comprising an ibex standing before two advancing figures, the rear-most with a sword and frond behind, a pair of lions to the background; drilled vertically through the centre for suspension; accompanied by a museum-quality impression. £400 - 600

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

139

NEO-ASSYRIAN CARNELIAN CYLINDER SEAL WITH PRESENTATION SCENE

1ST MILLENNIUM A.D. OR EARLIER 1 in. (8.65 grams, 27 mm).

A carnelian cylinder seal bearing a scene composed of two figures standing opposed, each holding a staff with a knop finial, one offering a sheaf of wheat to the other in his extended hand; one figure standing on the rumps of two addorsed lamassu winged beasts; stars and other motifs in the field; drilled vertically for suspension; accompanied by a museum-quality impression. £800 - 1,000

PROVENANCE

Acquired 1980-2000s. Important collection of a London gentleman.

140

WESTERN ASIATIC CYLINDER SEAL WITH EAGLES BELOW LINEAR HEAVENS

4TH-2ND MILLENNIUM B.C. 1¼ in. (21.2 grams, 33 mm).

A black limestone cylinder seal bearing a geometric zoomorphic design composed of a medial wavy line with figurative eagles above and below and arranged at opposite orientations; drilled vertically for suspension; accompanied by a museum-quality impression. £400 - 600

PROVENANCE

Acquired 1980-2000s. Important collection of a London gentleman.

141

OLD BABYLONIAN WHITE STONE CYLINDER SEAL WITH PRESENTATION SCENE

2ND MILLENNIUM B.C. 1⅛ in. (13.9 grams, 29 mm).

A carved limestone cylinder seal with frieze depicting a procession comprising: a king in floor-length robe holding a sceptre facing a supplicant in a robe with herringbone panel to the front; behind him a figure in conical cap and flounced robe; behind the king, a nude figure with arms bent holding a sword and standing next to a standard; crescent moon and other objects in the field; accompanied by a museum-quality impression. £500 - 700

PROVENANCE

Acquired 1980-2000s. Important collection of a London gentleman.

WESTERN ASIATIC GREEN STONE CYLINDER SEAL WITH PRESENTATION SCENE

21ST CENTURY B.C.

1¼ in. (9.7 grams, 31 mm).

A dark green jasper cylinder seal with a seated figure of crowned ruler in a flounced robe with a cup in his raised hand, facing a standing figure of a dignitary with an abacus or frame in one raised hand, and a soldier behind bearing a fan and staff; objects in the field; accompanied by a museum-quality impression. £400 - 600

PROVENANCE

Acquired 1980-2000s. Important collection of a London gentleman.

143

WESTERN ASIATIC STONE CYLINDER SEAL WITH HUNTING SCENE

LATE 2ND MILLENNIUM B.C. 1½ in. (13.3 grams, 39 mm).

A carved jasper cylinder seal bearing a circumferential frieze of an archer and rampant lion in a field of vegetation; pierced vertically for suspension, fragment of the bronze rod still in place; North-West Iranian type; accompanied by a museum-quality impression. £500 - 700

PROVENANCE Acquired 1980-2000s. Important collection of a London gentleman.

144

NEO-ASSYRIAN BLACK JASPER CYLINDER SEAL WITH CULTIC BANQUET SCENE

EARLY 1ST MILLENNIUM B.C. 1¼ in. (9.12 grams, 32 mm).

A black jasper cylinder seal engraved with a cultic banquet scene, composed of two figures standing facing, a jar on a table between them, standards to their left and right, crescent moon and star in the field above; accompanied by a museum-quality impression. £400 - 600

PROVENANCE

Acquired 1980-2000s. Important collection of a London gentleman. LITERATURE

Cf. The Metropolitan Museum, accession number 1985.357.46, for similar. 145

LARGE AKKADIAN CYLINDER SEAL WITH DOUBLE REGISTER

2ND MILLENNIUM B.C. 1¾ in. (34.4 grams, 43 mm).

A finely-carved cylinder seal of diorite, drilled for suspension; frieze in two registers: human warrior combating a pair of lamassu humanheaded bulls in the upper register, each with a bird on its rump; a pair of oxen in the lower register, grazing with a star above and bush behind; accompanied by a museum-quality impression. £500 - 700

PROVENANCE

From an earlier 20th century collection. Mayfair art gallery, UK. Dr D.G. collection, 1990s-2019.

LITERATURE

Cf. Collon, D., First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, pp.35-37. 146

WESTERN ASIATIC CONICAL SEAL WITH SYMBOL AND INSCRIPTION

1ST MILLENNIUM B.C. OR EARLIER 1 in. (9.58 grams, 27 mm).

A conoid black limestone stamp seal bearing enigmatic symbol with surrounding inscription to base, possibly a sun or floral motif; old collector's label to one face; accompanied by a museum-quality impression. £500 - 700

PROVENANCE Acquired 1969-1999. London collection of the late Mr S.M., thence by descent.

WESTERN ASIATIC STAMP SEAL COLLECTION

4TH-2ND MILLENNIUM B.C. ⅝ - 2⅜ in. (228 grams total, 42-61 mm).

A group of four large stone stamp seals of discoid and oval form, including jasper (2), and agate (2) each drilled for suspension; bearing zoomorphic motifs to their bases; accompanied by museum-quality impressions. [4] £600 - 800

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

148

SUMERIAN VULTURE AMULET

CIRCA 3000-2900 B.C. 1¾ in. (19.7 grams, 45 mm).

A limestone amulet in the form of a vulture modelled in the half-round in a perched position, with stylised anatomical detailing; reverse displaying drilled design composed of multiple stylised leaping quadrupeds, seemingly big cats; drilled vertically for suspension. £800 - 1,000

PROVENANCE

Acquired between 1975 and 1990. Ex private collection of Mrs J. Stuart, London, UK.

149

SUMERIAN AMULETIC CALF FIGURINE 3RD-2ND MILLENNIUM B.C. ⅛ in. (9.46 grams, 30 mm).

A composition amuletic figurine of a calf with legs folded and bound beneath the body, head turned along the flank, slot to the underside. £500 - 700

PROVENANCE Acquired 1969-1999. London collection of the late Mr S.M., thence by descent.

150

MESOPOTAMIAN MODEL OF A HEDGEHOG IN THE FORM OF A LIBATION CUP

3RD-2ND MILLENNIUM B.C. ⅝ in. (31.2 grams, 42 mm).

A steatite hedgehog figure composed of a domed circular body with spine detailing and a small triangular head with pricked ears; concave underside. £700 - 900

PROVENANCE

Early 20th century French collection with old label. By descent, Parisian collection, 1980s.

151

WESTERN ASIATIC HARDSTONE FROG 2ND-3RD CENTURY A.D. OR LATER 2⅜ in. (82.9 grams, 60 mm).

A carved hardstone amulet in the form of a frog sitting on a base, modelled with large circular eyes with central recesses and folds to its skin; hollowed out with opening to base and off-centre piercing through the mouth. £800 - 1,000

PROVENANCE Acquired 1979-1999. London collection of the late Mr S.M., thence by descent.

152

LARGE BACTRIAN POLISHED WEIGHT

3RD-2ND MILLENNIUM B.C.

8½ in. (4.44 kg, 21.5 cm).

A large capsule-shaped polished stone weight. £600 - 800

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

153

BACTRIAN STONE BOWL WITH INCISED DECORATION

2ND MILLENNIUM B.C.

6⅛ in. (1.61 kg, 15.5 cm wide).

A chlorite bowl with a vertical wall, the exterior decorated with a circumferential frieze of recessed cells in the form of stylised flower heads, interspersed with incised zoomorphs, possibly bees or birds, framed by clusters of three grooved bands above and below. [No Reserve] £400 - 600

PROVENANCE

French collection, 1990s-early 2000s.

Mediterranean archaeology, Asia, Prehistory & Curiosities Sale, Vermot & Associés, Paris, 18 July 2020, lot 200, with lot sticker to verso. From an important Paris gallery, France. Ex private Parisian collection.

154

BACTRIAN BOWL WITH ANIMAL DECORATION

2ND MILLENNIUM B.C.

7½ in. (805 grams, 19 cm wide).

A large carved ceramic bowl with cylindrical body and lug handles, reserved stylised images on each side comprising two deer facing a palm tree.

£400 - 600

PROVENANCE French collection, 1990s-early 2000s. Mediterranean archaeology, Asia, Prehistory & Curiosities Sale, Vermot & Associés, Paris, 18 July 2020, lot 329. From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE

Cf. Dani, A.H. & Masson, V.M., History of civilizations of central Asia, the dawn of civilization: earliest times to 700 B.C., Paris, 1992, fig.1, p.392.

FOOTNOTES

The motifs of deer facing a palm tree appear on the ceramics from Harappa. The motif of the deer and sacred tree was widespread throughout the Oxus Valley, as well as in the ancient cultures of Bactria and Margiana.

the final hammer price

& 26

buyer's

155

NEO-SUMERIAN ALABASTER KOHL POT WITH LIONS

2ND-1ST MILLENNIUM B.C. 1⅜ in. (29.4 grams, 35 mm wide).

An alabaster kohl jar composed of a bulbous body with broad everted rim; two naturalistically engraved recumbent lions in low relief to the equator. £700 - 900

PROVENANCE

From a collection formed pre 1988. London and Geneva collection, thence by descent. Accompanied by a copy of a previous typed catalogue page.

FOOTNOTES

Numerous stone kohl containers have been discovered at the temple of the goddess Inanna. The close association between her cult and the kohl jar is based on the literature recording the attractive black eyes of Inanna after she painted them with kohl. Inanna was one of the principal deities worshipped in ancient Mesopotamia.

156

MESOPOTAMIAN SPECKLED JASPER VESSEL

2ND MILLENNIUM B.C. 4½ in. (1.8 kg, 11.5 cm).

A squat globular speckled yellow jasper vessel, flattened disc rim with raised circumferential band to the neck. £800 - 1,000

PROVENANCE

Acquired in the 1980s. From a private North American collection. with Christie's, London, 7 October 2010, lot 79. Property of a New York gentleman. Accompanied by copies of the relevant Christie's catalogue pages.

157

MESOPOTAMIAN ALABASTER VESSEL

3RD MILLENNIUM B.C. ¼ in. (1.71 kg, 15.5 cm).

An alabaster bowl with flat rim undercut to the underside; sloping shoulder engraved with band of chevron pattern, four pierced lug handles to the shoulder; body tapering to the small rounded base. £600 - 800

PROVENANCE

Acquired before 1970. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

158

BACTRIAN ALABASTER CHALICE

LATE 3RD-EARLY 2ND MILLENNIUM B.C. 9½ in. (1.3 kg, 24.3 cm high).

A veined alabaster chalice with squat, barrel-shaped bowl, everted rim and tapering cylindrical stem. £400 - 600

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

160

AMLASH SPOUTED TERRACOTTA VESSEL

2ND-1ST MILLENNIUM B.C. 17⅜ in. (1.5 kg, 44.3 cm wide).

An extremely well-preserved terracotta spouted bowl with a flattened base, deep hemispherical body, and six spiked protrusions to the rim; tubular spout extending from the bowl’s rim, echoing the spiked handle to the opposite end; possibly executed as a religious or ceremonial pouring vessel, used for specific ritual occasions. £500 - 700

PROVENANCE

Acquired 1970s-1990s.

Ex Rabi Gallery, Mayfair, London, U.K.

From a specialist collection of pottery.

161

NABATAEAN TWIN-HANDLED CUP

3RD-1ST CENTURY B.C. 6⅝ in. (110 grams, 17 cm wide).

A ceramic vessel with rounded base and carinated shoulder, thin rim with two moulded loop handles. £600 - 800

PROVENANCE

From an important collection of Holy Land pottery formed pre 1988, thence by descent.

162

AMLASH TERRACOTTA VESSEL

2ND-1ST MILLENNIUM B.C. 10⅜ in. (545 grams, 26.5 cm wide).

A finely modelled, orange-reddish terracotta vessel comprising a squat, oval body rising from a flat base and narrowing to an open mouth with a flat rim; prominent beaked spout rising below the rim echoing the applied handle in the shape of a quadruped. £400 - 600

PROVENANCE

Acquired 1970s-1990s.

Ex Rabi Gallery, Mayfair, London, UK. From a specialist collection of pottery.

163

WESTERN ASIATIC FINELY PAINTED JAR

2ND-1ST MILLENNIUM B.C.

7½ in. (1.2 kg, 19 cm high).

A ceramic whiteware pitcher with rounded underside, conical body, trumpet-shaped neck with everted rim, short spout to the shoulder and strap handle to the rear; painted decoration including linear bands and hatched panels.

£800 - 1,000

PROVENANCE

Acquired 1970s-1990s.

Ex Rabi Gallery, Mayfair, London, UK.

From a specialist collection of pottery.

164

WESTERN ASIATIC SPOUTED JAR WITH BIRDS

3RD-2ND MILLENNIUM B.C.

10¼ in. (2.57 kg, 26 cm high).

A ceramic jar with drum-shaped body, short spout to the shoulder, trumpet-shaped mouth with ribbed band, strap handles to the rear; painted circumferential bands with hatched birds and other details.

£500 - 700

PROVENANCE

Acquired 1970s-1990s.

Ex Pars Gallery, Mayfair, London, UK.

From a specialist collection of pottery.

165

WESTERN ASIATIC JAR WITH DOLPHINS

2ND MILLENNIUM B.C.

9⅝ in. (2.7 kg, 24.5 cm high).

A bulbous ceramic jar with everted rim, decorated with polychrome geometric bands and stylised dolphins.

£500 - 700

PROVENANCE

Acquired 1970s-1990s.

Ex Pars Gallery, Mayfair, London, UK.

From a specialist collection of pottery.

166

WESTERN ASIATIC JAR WITH BIRDS

3RD-2ND MILLENNIUM B.C. 12¾ in. (3.4 kg, 32.5 cm high).

An ovoid ceramic jar with waisted neck and collared rim, decorated with polychrome geometric motifs including circumferential bands of chevrons, plain bands and hatching. £500 - 700

PROVENANCE

Acquired 1970s-1990s. Ex Pars Gallery, Mayfair, London, UK. From a specialist collection of pottery.

167

LARGE WESTERN ASIATIC STORAGE VESSEL

2ND MILLENNIUM B.C. 15⅜ in. (8 kg, 39 cm high).

A large ceramic storage jar with bulbous body and broad neck with everted rim, decorated around the shoulder with a band of chevrons, elongated leaf-shapes below with scalloped fill. £2,000 - 3,000

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11509-193689.

LITERATURE Cf. Çilingiro lu, A., 'The Second Millennium Painted Pottery Tradition of the Van Lake Basin' in Anatolian Studies, vol. 34, 1984, pp.129-139, for comparable. 168

VERY LARGE WESTERN ASIATIC RED BURNISHED STORAGE VESSEL

2ND MILLENNIUM B.C. 20⅞ in. (13.3 kg, 53 cm high).

A large glazed terracotta storage vessel with piriform body, waisted neck and everted rim, painted with circumferential bands of chevrons around the shoulder, hatched fill between, above and below and dashed lines to the rim. [No Reserve] £800 - 1,000

PROVENANCE

Acquired before 1990. Property of a Munich collector. Property of an English gentleman.

LITERATURE

Cf. Çilingiro lu, A., 'The Second Millennium Painted Pottery Tradition of the Van Lake Basin' in Anatolian Studies, vol.34, 1984, pp.129-139.

169

WESTERN ASIATIC BLUE-GLAZED JAR

CIRCA 13TH CENTURY A.D. 10¼ in. (2.96 kg, 26 cm high).

A piriform earthenware jar with broad neck, decorated with a blue glaze; restored. £600 - 800

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

170

LATE PARTHIAN BLUE-GLAZED JAR

2ND-3RD CENTURY A.D. 13⅝ in. (3 kg, 34.5 cm high).

A piriform blue-glazed ceramic jar with convex collar and splayed foot, bituminous coating to the interior; crazing to glaze. £600 - 800

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

LITERATURE Cf. The Metropolitan Museum, accession number 1997.31, for similar.

171

LURISTAN MASTER OF ANIMALS SCEPTRE FINIAL

CIRCA 8TH-7TH CENTURY B.C. 15⅜ in. (496 grams, 39 cm high).

A bifacial bronze sceptre head formed as a Master of Animals atop a collared tubular stem with flared foot; the finial composed of two addorsed birds standing on their backs looking up towards two birds' heads facing down and joined to slender crescentic arms representing slender beasts with ridged backs and roaring mouths, each in the grip of the Master standing crowned between them; the Master with tubular body, animal-like ears, prominent nose above a small mouth and wearing collars, neck rings and tiered headdress; waisted socket below. £800 - 1,000

PROVENANCE

Acquired 1980-2015. Ex Abelita family collection.

172

SOUTH ARABIAN CAMEL WITH INSCRIPTION

2ND-3RD CENTURY A.D. 2⅝ in. (104 grams, 68 mm wide).

A copper-alloy dromedary camel bearing a complex Himyaritic inscription over one side of its body. £400 - 600

PROVENANCE Acquired in the 1980s. From a French collection.

173 SOUTH ARABIAN CAMEL RIDER

2ND-1ST CENTURY B.C. 3⅛ in. (120 grams, 80 mm high).

A freestanding copper-alloy camel and rider figure. £400 - 600

PROVENANCE

Acquired in the 1980s. From a French collection.

174

174 WESTERN ASIATIC GRYPHON STATUETTE

MID 1ST MILLENNIUM B.C. 4⅞ in. (215 grams, 12.5 cm).

A bronze figurine of a gryphon with beaked face, curled mane to the arched neck, slender body with small wings to the shoulders and extended hind legs with tail between. £400 - 600

PROVENANCE London collection since the 1980s. Property of a Canadian family.

175

NEO-BABYLONIAN BRONZE DUCK WEIGHT

MID 1ST MILLENNIUM B.C. 1⅞ in. (83 grams, 47 mm).

A bronze duck weight with simple detailing to the head and beak. £400 - 600

PROVENANCE Acquired 1980-2000s. Important collection of a London gentleman.

For charges

addition to the final hammer price

178

176

ACHAEMENID RIBBED PHIALE MESOMPHALOS

6TH-4TH CENTURY B.C.

7½ in. (264 grams, 19 cm wide).

A copper-alloy bowl with omphalos and fluting. £400 - 600

PROVENANCE Acquired 1980-2015.

Ex Abelita family collection.

177

SASSANIAN DECORATED DISH

3RD-7TH CENTURY A.D.

5½ in. (231 grams, 14 cm wide).

A shallow copper-alloy bowl with tinning, the interior decorated with concentric bands around a central flower, fluting beyond.

£300 - 400

PROVENANCE

Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1.

Property of a North West London gentleman.

charges payable in addition to the final hammer price

Lot

19 & 26 of buyer's T&C's

178

WESTERN ASIATIC TINNED BRONZE FOOTED CUP

MID 1ST MILLENNIUM B.C.

5½ in. (533 grams, 14 cm).

A high-tinned bronze cup with raised bands to the shoulder and lip, and a splayed foot. [No Reserve] £300 - 400

PROVENANCE Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

179

WESTERN ASIATIC RIMMED SILVER BOWL

LATE 1ST MILLENNIUM B.C. 6½ in. (875 grams, 16.5 cm wide).

A silver bowl with a deep channelled rim and a rounded base. £300 - 400

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. 180

ELAMITE SILVER DRINKING BOWL EARLY 1ST MILLENNIUM B.C. 6¼ in. (174 grams total, 16 cm wide).

A sheet-silver drinking bowl composed of a gently carinated body and hammered foot, slender engraved band around the rim exterior; crack to foot. £500 - 700

PROVENANCE

Acquired before the early 1970s. Ex London, UK, gallery. Property of a London gentleman. 181

URARTU SILVER PIN WITH FIGURE 9TH-6TH CENTURY B.C. 5⅛ in. (8.15 grams, 13 cm).

A silver pin composed of a tapering stem and roughly rectangular head with scalloped and angled lower edges, engraved on one face with a standing figure facing right, holding a basket and beaker. £400 - 600

PROVENANCE Acquired 1979-1999. London collection of the late Mr S.M., thence by descent.

A

FOOTNOTES

183 SASSANIAN GOLD RING WITH ADVANCING FIGURE GEMSTONE 5TH-6TH CENTURY A.D. ¾ in. (7.86 grams, 21.80 mm overall, 15.45 mm internal diameter (approximate size British I½, USA 4½, Europe 8.07, Japan 7)).

A gold finger ring with flared shoulders to the hoop, discoid cell to the bezel with large applied granule, inset garnet gemstone with intaglio advancing figure. £800 - 1,000

PROVENANCE Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 485, for type. 184 PARTHIAN GOLD EARRING PAIR 3RD CENTURY B.C.-3RD CENTURY A.D. ⅞ in. (10.02 grams total, 21 mm each).

A matching pair of gold hoop earrings, each composed of a tapering hoop with expanded central section, adorned on both faces with gold pellets, pyramid clusters and a larger pyramid cluster finial with pyramid granules to each pellet; hinged closure. [2] £700 - 900

PROVENANCE Acquired 1970-2010. Collection of a late Japanese gentleman. 185 WESTERN ASIATIC GOLD AND PEARL EARRINGS EARLY 1ST MILLENNIUM A.D. 1⅝ in. (13.1 grams total, 38-41 mm).

A matched pair of gold earrings, each a round-section penannular scroll with looped terminals and two pearl beads, pelletted collars above; with recent adaptors for modern wear. [2] £700 - 900

PROVENANCE Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

WESTERN ASIATIC GOLD BEAD DROP EARRINGS 1ST MILLENNIUM B.C.

⅜ in. (9.08 grams total, 87-88 mm).

A matching pair of gold drop earrings, each composed of a slender penannular hoop with loop below and coiled wire arm suspending decorated gold, polished garnet, pearl and composition beads below. [2] £700 - 900

PROVENANCE Acquired 1970-2010. Collection of a late Japanese gentleman.

187

ZIWIYE TYPE GOLD IBEX ATTACHMENT ‡

8TH-7TH CENTURY B.C. 2½ in. (26 grams total, 61mm including stand).

A gold fitting in the form of a reclining ibex with horns arching over the back of the head, front legs bent under the body, back legs raised; mounted on a custom-made stand. £500 - 700

PROVENANCE Acquired before 2000. Academic collection of an important Mayfair gentleman. Ex property of a North London gentleman. Property of a French private collector. Sticker with collection number 170 to base.

LITERATURE Cf. Goddard, A., Le Tresor de Ziwiye, 1950, Tehran, fig.39.

FOOTNOTES

The Ziwiye hoard is a treasure hoard containing gold, silver, and ivory objects, also including a few Luristan pieces, that was uncovered on the south shore of Lake Urmia in Ziwiye, Kurdistan Province, Iran, in 1947. The hoard contains objects in four styles: Assyrian, Scythian, proto-Achaemenid, and the provincial native pieces. The collection of objects illustrates the situation of the Iranian plateau as a crossroads of cultural highways.

188

WESTERN ASIATIC GOLD BUTTERFLY PENDANT 2ND-1ST MILLENNIUM B.C. 1⅜ in. (5.16 grams, 35 mm).

A sheet-gold 'butterfly' bead of hollow construction. £500 - 700

PROVENANCE Acquired 1970-2010. Collection of a late Japanese gentleman.

189 WESTERN ASIATIC GOLD BEAD COLLECTION 1ST MILLENNIUM B.C. ⅛ -⅝ in. (8.75 grams total, 2-15 mm).

A mixed group of over 20 gold beads of various types, including hollow-formed, ribbed and granulated examples. [28] £500 - 700

PROVENANCE Acquired 1970-2010. Collection of a late Japanese gentleman.

190 WESTERN ASIATIC GOLD EARRING GROUP LATE 1ST

191

192

191

WESTERN ASIATIC CARNELIAN AND AGATE BEAD STRING

1ST MILLENNIUM B.C. OR LATER 26 in. (95 grams, 66 cm long).

A restrung necklace composed of double drilled oval agate beads from the Near East or India with later polished round carnelian beads.

£700 - 900

PROVENANCE

Acquired 1980-2015. Ex Abelita family collection.

192 WESTERN ASIATIC GOLD GRANULATED TUBULAR BEAD ON LATER NECKLACE

MID 1ST MILLENNIUM B.C. AND LATER 26⅜ in. (46 grams, 67 cm long).

An ancient sheet-gold tubular bead adorned with granulated collars, restrung on a later 20th century A.D. necklace composed mainly of short cylinder-shaped lapis lazuli beads and biconical carnelian beads.

£700 - 900

PROVENANCE Acquired 1980-2015. Ex Abelita family collection.

193

ARAMAIC LEAD MAGICAL TEXT

1ST-3RD CENTURY A.D.

5¾ in. (25.2 grams, 14.5 cm).

A rectangular sheet-lead panel with columns of lightly incised Aramaic text; the sheet originally rolled tightly. £500 - 700

PROVENANCE

Acquired 1979-1999. London collection of the late Mr S.M., thence by descent.

FOOTNOTES

The item was possibly meant to be a defixio or curse tablet on which the malediction was recorded and then shut away (by being tightly rolled up) so that the victim could not find it or negate it.

194

ROLLED ARAMAIC LEAD MAGICAL TEXT

2ND-3RD CENTURY A.D. 2⅜ in. (41 grams, 60 mm).

A rolled sheet-metal magical document with inscribed text in Aramaic. £500 - 700

PROVENANCE Acquired 1979-1999. London collection of the late Mr S.M., thence by descent.

195

ACHAEMENID GLASS KOHL POT

CIRCA 4TH CENTURY B.C.

2⅞ in. (38 grams, 73 mm high).

A polychrome opaque glass kohl pot formed with a tapering squaresection body, rounded base and a small globular finial to each corner of the shoulder; whitish zigzag motif to each face against a black ground, the vertical corners traced in mustard-yellow. [No Reserve] £400 - 600

PROVENANCE London collection since the 1980s. Property of a Canadian family.

LITERATURE Cf. The British Museum, museum number 135125, for a very similar example.

the final hammer price

paragraphs 19 & 26 of buyer's T&C's

196

SASSANIAN BROWN CUT GLASS VESSEL 3RD-7TH CENTURY A.D. 5⅛ in. (261 grams, 13 cm wide).

A hemispherical, opaque brown glass bowl or cup with four decorative tiers of cut facets.

£600 - 800

PROVENANCE

Acquired on the French art market, 1990s-early 2000s. From an important Paris gallery, France. Ex private Parisian collection.

LITERATURE

Cf. Whitehouse, D., Sasanian and Post-Sasanian Glass in The Corning Museum of Glass, New York, 2005, p.43, for similar.

197

ILKHANID SILVER MASK WITH INSCRIPTION 13TH-EARLY 14TH CENTURY A.D. 4 in. (53 grams total, 10.3 cm high including stand).

A sheet-silver mohra devotional mask with a convex upper face, likely representing a deity such as Vishnu, bearing a repoussé stylised bearded face wearing a crown, with almond-shaped eyes beneath slender arched brows, a long, slender nose, plump lips and fleshy cheeks and chin; tooled Devanagari inscription to both temples; accompanied by a custom-made display stand.

£2,000 - 3,000

PROVENANCE Acquired before the early 1970s. Ex London, UK, gallery. Property of a London gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11510-196383.

198

GHAZNAVID MASSIVE DOOR HANDLE PAIR

11TH-13TH CENTURY A.D.

24⅜ - 25⅛ in. (6.39 kg total, 62-64 cm).

A pair of zoomorphic bronze door handles, each composed of a domed openwork plate and cylindrical shaft balustered towards the finial, which is formed as the forequarters of a leaping feline; embellished with light blue inlays to the animals' eyes, openwork knotwork to their chests and openwork foliate motifs to parts of the shaft; engraved geometric and floral decoration across the body. [2] £6,000 - 8,000

PROVENANCE

Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1.

Property of a North West London gentleman. Accompanied by an academic report by Dr Raffaele D’Amato.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11512-193701.

LITERATURE

Cf. Fehervari, G., Islamic Metalwork of the Eighth to the Fifteenth Century in the Keir Collection, London, 1976, pl.38, no.114, for a similar protome; Allan, J.W., The Metalwork Industry in Iran in the Early Islamic Period, Oxford, 1976, pl.88; Allan, J.W., Nishapur: Metalwork from the Early Islamic Period, New York, 1982, figs.173, 175, 176, 178, 182.

FOOTNOTES

The function of these objects seems to have been to act as a pair of handles for a large bronze door. A near identical specimen (with similar inlays of blue stones for the eyes) published by Fehervari, who considers the animal to be a lion or a hare, was thought to be a leg of a large vessel, or part of a baluster shaft of a lamp stand. The history of Khorasan in the second half of the twelfth century was extremely turbulent, during which a great amount of metalwork was presumably lost or melted down. Therefore, it is quite remarkable that such an important pair has survived.

199

SELJUK GOAT PADLOCK

12TH CENTURY A.D. 2⅜ in. (79 grams, 59 mm).

A zoomorphic padlock in the form of a standing goat with curved horns, decorated with panels of scrolling foliage and chevrons, recessed circles to the ears, legs and chest, with remains of blue glass or enamelling to some, punched ring-and-dot eyes also with remains of red glass or enamelling. [No Reserve] £600 - 800

PROVENANCE

H.Baba Gallery, Davies Street, 2000. Ex central London gallery.

200

SELJUK LION PADLOCK

12TH CENTURY A.D. 2¾ in. (69.3 grams, 69 mm).

A bronze padlock in the form of a standing lion, its recurved tail forming the bar, opening to the chest to accept the key, reserved rectangular panel to each flank with Kufic inscription. [No Reserve] £600 - 800

PROVENANCE

H. Baba Gallery, Davies Street, 2000. Ex central London gallery.

201

LARGE SELJUK HANGING LAMP WITH INSCRIPTION

11TH-12TH CENTURY A.D. 22⅞ in. (2 kg, 58 cm high).

A bronze lamp with globular body, worked in repoussé and decorated with intricate arabesques, three attachments in the shape of stylised bull heads to the side, used to suspend the lamp with a chain made of openwork fittings alternating with globular elements, attached to an openwork domed top with an attachment ring above; Naskh inscription around the neck. £2,000 - 3,000

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11513-194198.

LITERATURE

Cf. Allan, J.W., The Metalwork Industry in Iran in the Early Islamic Period, Oxford, 1976, fig.48, lett.E/4; and especially Rice, D. S., ‘Studies in Islamic Metal Work V’ in Bulletin of the School of Oriental and African Studies, University of London, vol.17, no.2 (1955), pp.206-231, pl.II, X, XI, XII, XIV.

FOOTNOTES

The existing specimens of Allen classification group E hanging lamps indicate the existence of workshops in Persia, Mesopotamia, Syria, Egypt, North Africa, Spain, Asia Minor and Yemen. They were pierced in places to allow for the passage of light from a glass container within.

WESTERN ASIATIC BRASS BOWL

LATE 14TH CENTURY A.D.

9¼ in. (974 grams, 23.5 cm wide).

A brass bowl with rounded base, engraved with a medial frieze of circular and oblong cartouches containing different figural scenes and calligraphic script, intricate swags to the rim and geometric forms to the field; lower body with trilobate leaves alternating with interlace vines. [No Reserve] £1,000 - 1,400

PROVENANCE

Bottet collection, circa 1930. Encheres Rive Gauche SVV, 26 March 2012, lot 152. Ex central London gallery.

LITERATURE

Cf. The Metropolitan Museum, New York, accession number 35.64.2, for similar.

203

WESTERN ASIATIC DECORATED CALLIGRAPHIC BOWL

10TH-12TH CENTURY A.D.

4¾ in. (127 grams, 12 cm wide).

A copper-alloy bowl with shallow foot, interior decorated with a Kufic calligraphic band between punched ring-and-dot motifs, stylised flower at centre. £300 - 400

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. 204

LARGE ILKHANID INLAID PEWTER BOWL

14TH CENTURY A.D.

15½ in. (2.47 kg, 39.5 cm wide).

A broad pewter bowl comprising a shallow central dish with basal ring, flange rim with raised edge, central disc with inset bronze panel bearing motif of an advancing lion on a hatched field; inset bronze medallions to the rim decorated with vegetation and four bronze panels bearing calligraphic text reserved against a hatched field. [No Reserve] £400 - 600

PROVENANCE London collection since the 1980s. Property of a Canadian family.

LITERATURE See von Gladiss, A., Glanz und Substanz. Metallarbeitung in der Sammlung des Museums für Islamische Kunst, Berlin, 2012, for discussion.

205

WESTERN ASIATIC GOLD AND CARNELIAN RING

CIRCA 12TH-13TH CENTURY A.D. 1 in. (6.56 grams, 27.83 mm overall, 13.66 mm internal diameter (approximate size British F, USA 2¾, Europe 3.67, Japan 3)).

A finger ring composed of a carinated carnelian hoop with stepped shoulders and lug to hoop base, elliptical bezel with later sheet-gold edging, spool-shaped gold lining to the hoop interior. £800 - 1,000

PROVENANCE London collection since the 1980s. Property of a Canadian family. 206

INSCRIBED SAMANID BLUE CABOCHON IN GOLD RING CIRCA 10TH CENTURY A.D. AND LATER 1 in. (5.86 grams, 27.44 mm overall, 19.70 mm internal diameter (approximate size British M½, USA 6¼, Europe 13.09, Japan 12)).

A blue-grey chalcedony cabochon bearing inscription and decorative scooping, set in a later gold ring with filigree bezel and embossed hoop. £700 - 900

PROVENANCE UK private collection before 2000. UK art market. Property of a London gentleman. 207

WESTERN ASIATIC LUSTRED GLASS BOTTLE LATE 9TH-EARLY 11TH CENTURY A.D. 3⅝ in. (36 grams, 93 mm high).

A glass bottle with a globular body and cylindrical neck with everted rim, medial band of lustred arcading and vegetal forms, bands around the neck and rim, roundel to base. £3,000 - 4,000

PROVENANCE

Acquired on the French art market, 1990s-early 2000s. From an important Paris gallery, France. Ex private Parisian collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11514-194072.

LITERATURE

Cf. The British Museum, museum number 1902,0517.2, for this technique; cf. The David Collection, inv. no. Inv. no. 1/1985, for a comparable bottle. 208

SAMANID LUSTRED GLASS BOTTLE WITH BIRDS

CIRCA 9TH-11TH CENTURY A.D. 3½ in. (38 grams, 90 mm high).

The body of a bulbous glass vessel with lustred frieze displaying birds perched within vegetal roundels, deep plain band above. £500 - 700

PROVENANCE Acquired on the French art market, 1990s-early 2000s. From an important Paris gallery, France. Ex private Parisian collection.

209

KASHAN GLAZED PEDESTAL BOWL

EARLY 13TH CENTURY A.D.

8¼ in. (444 grams, 21 cm wide).

A glazed carinated bowl with splayed pedestal foot, displaying a band of script to the exterior and interior rim, and interior lower body, central polychrome geometric motif to the interior, the exterior base decorated with slender foliate sprigs separated by six blue dashes, restored. [No Reserve]

£3,000 - 4,000

PROVENANCE

Private UK collection.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11515-196257.

210

WESTERN ASIATIC BLUE-GLAZED BOWL

13TH-14TH CENTURY A.D.

7⅝ in. (325 grams, 19.5 cm wide).

A glazed ceramic bowl composed of a roughly conical body with convex wall and raised plinth ring, decorated with geometric style polychrome lotus petals around the exterior and solid band to the rim, interior with central geometric rosette enclosed by chevrons, surmounted by quatrefoils populated with pellet clusters, vegetal scrolls between, some restoration.

£600 - 800

PROVENANCE

Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

211

WESTERN ASIATIC GLAZED DECORATED BOWL

14TH-16TH CENTURY A.D.

13⅜ in. (2.15 kg, 34 cm wide).

A glazed ceramic bowl with shallow pedestal foot, the interior decorated with polychrome geometric motifs; hatched rim encircling a stylised floral design composed of alternating panels populated with arches and lattice style panels.

£400 - 600

PROVENANCE

Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

210

212

WESTERN ASIATIC GLAZED DECORATED DISH 13TH-14TH CENTURY A.D. 10⅜ in. (1.29 kg, 26.5 cm wide).

A glazed ceramic dish with iridescent surfaces, composed of a carinated body, inverted rim and plinth foot; the exterior decorated with a calligraphic band around the shoulder, the lower body divided into segments with plain tracks; the interior displaying a floral design. £1,500 - 2,000

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. 213

OTTOMAN GLAZED DECORATED BOWL 15TH-16TH CENTURY A.D. 8 in. (785 grams, 20.5 cm wide).

A blue and metallic glazed ceramic bowl with foot, the outer face with scrolling vines on a blue field, the interior with a circumferential band of roundels populated with stylised floral motifs, alternating plain and scalloped bands below with a hatched centre. £1,000 - 1,400

PROVENANCE Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. 214

WESTERN ASIATIC BLUE-GLAZED BOWL WITH LOTUS FLOWER 12TH-13TH CENTURY A.D. 6⅛ in. ( 7⅞ x 7¾ x 4⅜ in.) (259 grams, 15.5 cm wide (735 grams total, 20 x 19.7 x 11 cm including box)).

A blue-glazed conical bowl with inverted rim and everted foot, black edging to the rim and pairs of parallel lines reaching down the exterior neck, interior with geometric lotus design; held in a lined presentation box with swivel clasp. £500 - 700

PROVENANCE

Ex private collection, 1980s. Acquired on the UK art market in the 1990s.

215

WESTERN ASIATIC BLUE-GLAZED DECORATED BOWL

12TH-13TH CENTURY A.D.

6¼ in. (7⅛ x 7½ x 4 in.) (264 grams, 16 cm wide (740 grams total, 18 x 18.5 x 10 cm including box)).

A blue-glazed conical bowl with slightly convex walls and everted foot, decorated with a central geometric motif surrounded by radiating flutes, trefoil arcading above with vegetal scrolls between, vertical black striations to the rim and some iridescent surfaces; held in a collector's presentation box with swivel clasp. £500 - 700

PROVENANCE Ex private collection, 1980s. Acquired on the UK art market in the 1990s. 216

WESTERN ASIATIC GLAZED DECORATED BOWL

13TH-15TH CENTURY A.D.

6¼ in. (335 grams, 16 cm wide).

A ceramic bowl of roughly conical form, splayed foot and blue glaze to the upper body with geometric bands around the interior. £400 - 600

PROVENANCE Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1. Property of a North West London gentleman. 217

NORTH AFRICAN GLAZED DECORATED VESSEL

14TH-15TH CENTURY A.D.

13½ in. (2.39 kg, 34.3 cm high).

A part-glazed ceramic vessel composed of a piriform body, broad neck with everted rim and strap handle, the upper body decorated with roundels, scrolls and other geometric forms. £400 - 600

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

For charges payable in addition to the final hammer price of each

218

WESTERN ASIATIC GLAZED CERAMIC TILE GROUP WITH STARS 13TH-14TH CENTURY A.D. 26⅝ x 19¾ in. (3.95 kg total, 67.5 x 50 cm including stand).

A mixed group of glazed ceramic floor tiles: 20 small star-shaped examples with blue glaze finish; 12 square ones with a step to each corner, white glaze finish with design of turquoise roundels and dark blue stars; ten similar half-tiles; four right-angled white corners with turquoise roundels and blue triangles; mounted on a custom-made display stand. [46] £500 - 700

PROVENANCE Acquired 1970s-1996. Property of a North American collector. London collection, 2016. 219

WESTERN ASIATIC GLAZED ROOF TILE 12TH-13TH CENTURY A.D. 16½ in. (2.35 kg, 42 cm long).

A blue-glazed roof tile with semi-circular cross-section, the outer face decorated with a raised scrolling motif. £300 - 400

PROVENANCE Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. 220

WESTERN ASIATIC GLAZED TILE FRAGMENT GROUP 13TH-16TH CENTURY A.D. 4 - 6 in. (587 grams total, 10-15 cm including stand).

A trio of blue-glazed ceramic tile fragments comprising: one displaying the head and neck of a horse facing right, foliate scrolls in the field, with polychrome detailing and gilding to the edge; two fragments displaying vegetal forms; each mounted on a custom-made stand. £500 - 700

PROVENANCE French collection, 1990s-early 2000s. with Arnold Auction A1001, 17 November 2018, lot 344, with lot ticket to verso. From an important Paris gallery, France. Ex private Parisian collection.

221 VERY LARGE WESTERN ASIATIC FOLDING QUR'AN HOLDER

LATE 19TH CENTURY A.D. 37⅜ in. (4.5 kg, 95 cm).

A folding wooden Qur'an holder decorated with nacre marquetry and openwork foliate scrolls to the lower legs.

£800 - 1,000

PROVENANCE

Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

222

VERY LARGE WESTERN ASIATIC FOLDING QUR'AN HOLDER

LATE 19TH CENTURY A.D. 33⅝ in. (3.6 kg, 85.5 cm).

A folding wooden Qur'an holder with openwork decorative scheme and nacre inlay.

£800 - 1,000

PROVENANCE Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

223 WESTERN ASIATIC QUR'AN STAND

19TH CENTURY A.D. 33 in. (2.2 kg, 84 cm).

A folding wooden Qur'an stand featuring openwork lattice-style panels, raised cartouche to each leg bearing calligraphic script, pierced floral motifs below with legs shaped to a floral silhouette.

£600 - 800

PROVENANCE

Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

the final hammer price

buyer's T&C's

224

OTTOMAN FABRIC CLOAK

17TH-18TH CENTURY A.D. 49⅝ in. (645 grams, 126 cm long).

A bichrome fabric cloak with a decorative scheme composed of lighter-coloured floral and geometric panels and columns against a darker ground. £300 - 400

PROVENANCE

Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

LARGE OTTOMAN MARBLE CALLIGRAPHIC PANEL

18TH-19TH CENTURY A.D. OR EARLIER 27¾ in. (35 kg, 70.5 cm high).

A large rectangular marble panel displaying one dressed face adorned with calligraphic script within cartouches, the central panel of text highlighted by cascading arms of flowering foliage. [No Reserve] £400 - 600

PROVENANCE

Acquired Portobello Road market, early 1990s. Private London collection.

226

LARGE CHINESE GRANARY JAR PAIR

SONG DYNASTY, 960-1279 A.D. 27⅛ - 27⅜ in. (7.1 kg total, 69-69.5 cm).

A high-quality pair of glazed ceramic granary jars, each piriform in shape with piecrust collar to neck and slightly splayed foot; decorated with a medial frieze of applied figures standing above a piecrust collar, a sinuous dragon with a fearsome face and ridge scales coiled around the neck, together with a snake and turtle, swirling clouds and sun or moon between them; domed conical lids with flange rim and bird finial, with suspension loops. [2] £2,000 - 3,000

PROVENANCE

Previously from a Bath, UK, gallery. From the private collection of Desmond Morris. From an important Paris gallery, France. Ex private Parisian collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11516-195299.

LITERATURE

Cf. LuYaw (ed.), National University of Singapore. Lee Kong Chian Art Museum, Collection of Chinese Ceramics, Bronze, Archaic Jade Painting & Calligraphy, In The Light of Recent Archaeological Discoveries, SUP, 1990, p.170, for similar.

227

CHINESE HUNTER PAIR

TANG DYNASTY, 618-907 A.D. 16 - 16⅜ in. (7.8 kg total, 40.5-41.5 cm high).

A pair of ceramic mounted hunter figures, each modelled in the round on an integral rectangular base; horses standing facing with pricked ears, cropped manes and dressed tails, wearing bridles, harnesses and cruppers with studs and pendants; seated riders turned left in their saddles, directing their attention skywards, arms and hands positioned as though drawing bows (now absent); one saddle cloth possibly designed to mimic animal skin, the other with a floral design; successful kills slung over each horse's rump; extensive remains of polychrome pigmentation. [2] £5,000 - 7,000

PROVENANCE

Acquired 1970-1990s. From a private West Country collection. Accompanied by two original thermoluminescence analysis report nos.C122g64 and C122g68 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11517-195275.

LITERATURE

Cf. Los Angeles County Museum of Art, The Quest For Eternity, Chinese Ceramic Sculptures From The People's Republic Of China, Thames and Hudson, 1987, p.134, for similar.

228

CHINESE PRANCING HORSE TANG DYNASTY, 618-907 A.D. 18¾ in. (6.6 kg, 47.5 cm wide).

A ceramic caparisoned horse modelled in the round in a prancing posture, on an integral polygonal base; displaying naturalistic anatomical detailing, the animal's head turned backwards and to its right, with pricked ears, cropped mane and dressed tail, wearing bridle and harness adorned with pendants, detailing to saddle, saddle cloth and stirrups; remains of polychrome pigmentation.

£3,000 - 4,000

PROVENANCE

Acquired 1970-1990s.

From a private West Country collection. Accompanied by an original thermoluminescence analysis report no.C122g71 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11518-195259.

LITERATURE

Cf. The British Museum, museum number 1924,1112.1, for comparable; cf. The Metropolitan Museum, accession number 67.62.2, for comparable.

229

LARGE CHINESE PRANCING HORSE

TANG DYNASTY, 618-907 A.D. 22⅞ in. (13.2 kg, 58 cm wide).

A large ceramic horse modelled prancing on an integral rectangular base; naturalistic execution with head facing downwards and slightly to the animal's left, expressive eyes and mouth held open exposing two rows of teeth; ornately caparisoned, saddle and saddle cloth with delicate foliate motif; remains of polychrome pigmentation. £3,500 - 4,500

PROVENANCE

Acquired 1970-1990s.

From a private West Country collection. Accompanied by an original thermoluminescence analysis report no.C122g62 from Oxford Authentication.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11519-195277.

LITERATURE

Cf. The Metropolitan Museum, accession number 67.62.2, for similar.

230

CHINESE CAPARISONED HORSE NORTHERN WEI DYNASTY, 386-534 A.D. 13⅜ in. (2.43 kg, 34 cm high).

A ceramic horse figure modelled in the round standing on an integral rectangular base; the animal is richly caparisoned and adorned with a decorative saddle cloth. £2,000 - 3,000

PROVENANCE

Acquired 1970-1990s.

From a private West Country collection. Accompanied by a copy of an original thermoluminescence analysis report no.C122f87 from Oxford Authentication.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11520-195309.

LITERATURE

Cf. Los Angeles County Museum of Art, The Quest For Eternity, Chinese Ceramic Sculptures From The People's Republic Of China, Thames and Hudson, 1987, p.78, fig.8, for similar.

231

CHINESE FALCONER WITH BIRD OF PREY TANG DYNASTY, 618-907 A.D. 16½ in. (3.85 kg, 42 cm high).

A ceramic horse and mounted hunter figure modelled in the round, standing on an integral rectangular base; the animal with seminaturalistic anatomical detailing, patches of spotted coat to the neck and rump; richly caparisoned with large pendants adorning bridle, harness and crupper; the seated rider's gaze fixed on the hunting bird in hand, with stylised facial features and floral pattern to his garments; design on saddle cloth possibly mimicking animal skin. £2,500 - 3,500

PROVENANCE

Acquired 1970-1990s. From a private West Country collection. Accompanied by an original thermoluminescence analysis report no.C122g63 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11521-195276.

LITERATURE

Cf. Royal Ontario Museum, accession number 923.24.125, for subject matter and comparable figure.

232

CHINESE SADDLED HORSE FIGURINE

WESTERN JIN DYNASTY, 265-317 A.D. 10⅝ in. (4.7 kg total, 27 cm including stand).

A ceramic standing horse with the hindlegs slightly apart and bent, tail erect, integrally modelled saddle with saddlecloth, bridle ornaments on muzzle and forelock; supplied with a made-to-measure stone base. £400 - 600

PROVENANCE

Acquired 1980-1990s. Ex West Country collection. Property of a Bristol, UK, gentleman.

LITERATURE

For a similar example see a sculpture from the Birmingham Museum of Art, accession no.1979.321; cf. Hajeck et al., A Book of Chinese Art, four thousand years of sculpture, painting, bronze, jade, lacquer and porcelain, Spring Books, 1966, item 28, for type.

FOOTNOTES

The Western Jin pottery horses tend to be modelled on the stocky and shortlegged Mongolian breed, unlike their more graceful Han Dynasty predecessors. This type of horse was formerly attributed to the Han period; developments within the field of archaeology have since re-attributed them to the Six Dynasties era (3rd-6th century A.D.)

233

CHINESE COURTLY LADY TANG DYNASTY, 618-907 A.D. 16⅛ in. (19½ x 9½ in.) (2.7 kg, 41 cm high (4.3 kg total, 49.5 x 24 cm including box)).

A finely modelled figure of a lady with hair dressed in top knots, wearing a floor-length robe painted with stylised floral motifs, cloud slippers emerging beneath the hem, her hands raised in front of her chest and holding what is possibly a flower or fruit; remains of polychrome pigmentation; free-standing; accompanied by a decorative display box. £2,000 - 3,000

PROVENANCE

Acquired 1970-1990s. From a private West Country collection. Accompanied by an original thermoluminescence analysis report no.C122g73 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11522-195279.

LITERATURE

Cf. The Kyoto National Museum, ledger number G armor 260, for a similar figure.

234

CHINESE COURTLY LADY

TANG DYNASTY, 618-907 A.D. 15⅜ in. (18⅞ x 9 in.) (2.6 kg, 39 cm high (4.1 kg total, 48 x 23 cm including box)).

A finely modelled figure of a lady with hair dressed in top knots, wearing a floor-length robe painted with stylised floral motifs, cloud slippers emerging beneath the hem, her hands raised in front of her chest and supporting what is possibly a pot or a flower; extensive remains of polychrome pigmentation; free-standing; accompanied by a decorative display box.

£2,000 - 3,000

PROVENANCE

Acquired 1970-1990s. From a private West Country collection. Accompanied by an original thermoluminescence analysis report no.C122g74 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 11523-195278.

LITERATURE

Cf. The Kyoto National Museum, ledger number G armor 260, for a similar figure.

LARGE CHINESE COURTLY LADY

TANG DYNASTY, 618-907 A.D. 19¾ in. (23⅜ x 11½ in.) (4.35 kg, 50 cm high (6.8 kg total, 59.5 x 29 cm including box)).

A finely modelled figure of a lady with hair dressed in top knots, wearing a floor-length robe, cloud slippers emerging beneath the hem, her hands raised in front of her chest and with one hand drawn into her voluminous sleeves; remains of polychrome pigmentation; freestanding; accompanied by a decorative display box.

£2,500 - 3,500

PROVENANCE

Acquired 1970-1990s.

From a private West Country collection. Accompanied by an original thermoluminescence analysis report no.C122g76 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11524-195280.

LITERATURE

Cf. The Kyoto National Museum, ledger number G armor 260, for a similar figure.

236 CHINESE DANCER FIGURE

HAN DYNASTY, 206 B.C.-220 A.D. 11⅞ in. (869 grams, 30 cm high).

A free-standing ceramic figure of a lady, possibly a dancer, modelled standing and dressed in voluminous robes which trail at the feet, hands folded within sleeves at the waist; polychrome detailing to the garments and face, her hair tied back and trailing part-way down her back. £250 - 350

PROVENANCE

Acquired 1970-1990s. From a private West Country collection.

LITERATURE

Cf. The Metropolitan Museum, accession number 1992.165.19, for a comparable figure; cf. MAO Museo d'Arte Orientale, Turin, item titled 'standing lady', Western Han, 2nd century B.C., for a similar figure.

237

LARGE CHINESE GREEN-GLAZED FIGURE

MING DYNASTY, 1368-1644 A.D. 22⅝ in. (5 kg, 57.5 cm high).

A glazed polychrome attendant figure modelled in the round standing with arms held within voluminous sleeves in front of the body, supporting a small dog atop a tray; the figure with semi-naturalistic facial features and dressed in floor-length courtly robes; head separately modelled; hole in top of head. £400 - 600

PROVENANCE

Acquired 1970-1990s.

From a private West Country collection.

LITERATURE

Cf. The V&A Museum, accession number FE.289-2005, for a comparable figure.

238

CHINESE PROCESSIONAL FIGURE GROUP

MING DYNASTY, 1368-1644 A.D. OR LATER 7½ - 7⅞ in. (3.3 kg total, 19-20 cm).

A processional group of glazed ceramic and painted figures comprising: four bearers in conical caps and calf-length robes, two with the left hand raised and two with the right; a musician with horn raised to the chest; a tall palanquin with canopy, seated figure inside, separately cast blue-glazed finial. [6]

£1,000 - 1,400

PROVENANCE Acquired before 1990. From an old Spanish collection. From the private collection of a Pinner gentleman.

the final hammer

19 & 26

buyer's T&C's

LARGE CHINESE WOODEN STATUE OF LUOHAN QING DYNASTY, 17TH-19TH CENTURY A.D.

31⅛ in. (9.95 kg, 79 cm high).

A carved wood luohan figure modelled seated and cross-legged, depicted with an animated facial expression; wearing a long robe accompanied by a shawl which is draped over his extended right arm and across the front of his body by his left hand; remains of polychrome pigmentation.

£1,800 - 2,400

PROVENANCE

French collection, 1990s-early 2000s.

Ex Ogotai Auctions, Brussels, Belgium, 29 March 2018, lot 2.

From an important Paris gallery, France.

Ex private Parisian collection.

240

CHINESE ORDOS GILT ZOOMORPHIC APPLIQUÉ PAIR

CIRCA 2ND CENTURY B.C.

9⅞ in. (268 grams total, 25 cm wide including stand).

A pair of gilt rectangular appliqués bearing zoomorphic schemes in raised relief, each composed of a faux ropework border framing two addorsed and couchant beaked ungulates, their hindlegs raised above their heads, two opposed serpent-like creatures rearing up between; one with two rectangular lugs to reverse; one with one lug and remains of a second; accompanied by a custom-made display stand. [2]

£2,000 - 3,000

PROVENANCE

Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1. Property of a North West London gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11525-194193.

LITERATURE

Cf. The Metropolitan Museum, accession number 2002.201.106, for similar.

241

CENTRAL ASIAN GILT SILVER SWORD-BELT SET WITH DRAGONS

CIRCA 14TH CENTURY A.D.

11⅞ x 7½ x 2⅜ in. (1.14 kg total, 30 x 19 x 6 cm including case).

A suite of silver-gilt belt or strap mounts, mainly rectangular with undulating edges and a high-relief repoussé dragon motif to the centre; one T-shaped with domed boss to the centre, with raised dragon motif; supplied in a velvet-covered display case.

£2,000 - 3,000

PROVENANCE London collection since the 1980s.

Property of a Canadian family. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11526-195230.

LITERATURE

See Komaroff. L. & Carboni, S. (eds.), The Legacy of Gengis Khan: Courtly Art and Culture in Western Asia 1256-1353, New York, 2002.

242

CHINESE GILT BRONZE GUARDIAN FIGURE

HAN DYNASTY, 206 B.C.-220 A.D. 4½ in. (190 grams, 11.4 cm wide).

A gilt bronze zoomorphic guardian figure, possibly a mythical beast or chimera, modelled in the round with geometric detailing in raised relief.

£1,000 - 1,400

PROVENANCE

From a Cotswold collection. Exhibited at the Exhibition of the Silk Road, London, December 2001.

SINO-TIBETAN GILT SEATED ARYA TARA FIGURINE

CIRCA 18TH-19TH CENTURY A.D. 7⅛ in. (1.75 kg, 18 cm high).

A gilt-bronze figure of Arya Tara modelled in the round in meditating pose with eyes half-closed and a utpala flower to each upper arm; Dshaped lotus flower dais, hollow with panel to the underside.

£800 - 1,000

PROVENANCE London collection since the 1980s. Property of a Canadian family.

244

CHINESE NEOLITHIC DUGONG VESSEL

CIRCA 3RD MILLENNIUM B.C. 6⅞ in. (495 grams, 17.5 cm wide).

An important dugong vessel with roughly ovoid body, two side handles and notched tail, the base decorated with wavy lines to imitate the sea.

£500 - 700

PROVENANCE

From the C. Roger Moss OBE collection. The late Roger Moss was a renowned art collector who, throughout the years, thanks to his determination and enthusiasm, was able to create an outstanding collection of artworks, most prominently from China and the Orient, but also from other cultures.

the final hammer price

T&C's

245

CHINESE NEOLITHIC PAINTED JAR

3RD MILLENNIUM B.C. 14¾ in. (3.75 kg, 37.5 cm high).

An ovoid ceramic jar or hu with cylindrical neck, everted rim and two downward-facing loop handles to the equator; painted zigzags around the neck, hatched chevrons to the shoulder and concentric bands above swags to the body. £250 - 350

PROVENANCE

Acquired in the 1970s. From a Hong Kong collection. London collection, 1990s-2000s.

246

CHINESE NEOLITHIC PAINTED JAR

3RD MILLENNIUM B.C. 14⅜ in. (3.65 kg, 36.5 cm high).

A piriform ceramic jar with tapering neck, everted rim and two loop handles to the equator; the upper body painted with concentric circular forms against a ground of hatching and swirling lines. £250 - 350

PROVENANCE

Acquired in the 1970s. From a Hong Kong collection. London collection, 1990s-2000s.

LITERATURE

Cf. The Metropolitan Museum, accession number 1992.165.9, for a broadly comparable example dated 2650-2350 B.C.

247

CHINESE HU WITH LION MASK

HAN DYNASTY, 206 B.C.-220 A.D. 13¼ in. (3.3 kg, 33.5 cm high).

A grey ceramic jar or hu vessel with waisted and collared neck, splayed and collared foot and stylised lion head appliqués to the equator. £400 - 600

PROVENANCE Acquired 1980-2015. Ex Abelita family collection.

LITERATURE Cf. The Metropolitan Museum, accession number 1994.605.123, for a similar, albeit glazed, example.

248

CHINESE WHITEWARE JAR TANG/SONG DYNASTY, 618-1279 A.D. 13 in. (2.94 kg, 33 cm high).

An ovoid whiteware ceramic jar with subtly splayed base; glazed discoid lid with separately made lid with central knop. £200 - 300

PROVENANCE Acquired 1970-1990s. From a private West Country collection.

249

SOUTH EAST ASIAN STATUE OF DEVATA WITHIN ARCH CIRCA 11TH CENTURY A.D. OR LATER 58½ in. (81 kg, 148.5 cm high including stand).

A carved sandstone statue of a devata standing on a rectangular base within an arch, wearing an ankle-length sampot pleated and divided at the front; the left hand holding a gourd with stopper; the right hand holding a string of beads; integral mounting peg to the underside; possibly Cambodian workmanship.

£6,000 - 8,000

PROVENANCE

Acquired 1960-1980. From the collection of late L. Hyde Smith, UK; by descent 2010. Accompanied by a scholarly note TL05457 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11527-195515.

LITERATURE

See Jacques, C. & Freeman, M., Angkor Cities and Temples, Bangkok, 1997, for discussion.

251

250

250 GANDHARAN SCHIST RELIEF FRAGMENT WITH BUDDHA AND PRIESTS

CIRCA 2ND-3RD CENTURY A.D. 12⅝ in. (4.9 kg total, 32 cm wide including stand).

A grey schist relief fragment of roughly rectangular form, depicting a worshipping scene composed of four figures, one nimbate and kneeling, one within a wreath; in high-relief; accompanied by a custom-made display stand. £3,000 - 4,000

PROVENANCE

Acquired in the 1980s. Ex private UK collection. Accompanied by scholarly note TL5449 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11528-195982.

251 GANDHARAN STUCCO SEATED BUDDHA CIRCA 4TH-5TH CENTURY A.D. 7⅝ in. (882 grams total, 19.3 cm including stand).

A stucco figure of Buddha modelled seated on a lotus flower base, hands held in his lap in the Bhairava or Dhyan mudra, head inclined slightly downwards and to his proper left, stylised facial features, elongated earlobes and wearing a floor-length robe; partial nimbus behind; remains of painted pigmentation; mounted on a custom-made display stand. £1,200 - 1,700

PROVENANCE

Acquired before the early 1970s. Ex London, UK, gallery. Property of a London gentleman.

252 GANDHARAN STUCCO FIGURE CIRCA 4TH-6TH CENTURY A.D. 6⅝ in. (530 grams total, 17.3 cm high including stand).

A stucco female figure modelled in the half-round, wearing large ear spools and a pendant necklace, hands held together at the chest, head looking to the right and executed with semi-naturalistic facial features; remains of painted pigmentation; mounted on a custommade display stand. £400 - 600

PROVENANCE

Acquired before the early 1970s. Ex London, UK, gallery. Property of a London gentleman.

of each Lot

addition to the final hammer

26

buyer's

253

GANDHARAN STUCCO BUDDHA HEAD

CIRCA 3RD-5TH CENTURY A.D.

7⅝ in. (737 grams total, 19.5 cm high including stand).

A stucco Buddha head modelled in the half-round, hair pulled around the ushnisha, slender arching eyebrows, almond-shaped eyes with prominent eyelids, pursed lips; vertical groove to reverse where originally mounted(?); mounted on a custom-made display stand.

£500 - 700

PROVENANCE

Acquired before the early 1970s.

Ex London, UK, gallery. Property of a London gentleman.

LITERATURE

Cf. The V&A Museum, accession number IM.74-1939, for similar.

254

GANDHARAN STUCCO BUDDHA HEAD

CIRCA 2ND-5TH CENTURY A.D.

7⅞ in. (1 kg total, 20 cm high including stand).

A stucco Buddha head modelled in the half-round, hair pulled around the ushnisha, slender arching eyebrows, almond-shaped eyes with prominent eyelids, pursed lips; mounted on a custom-made display stand.

£500 - 700

PROVENANCE

Acquired before the early 1970s. Ex London, UK, gallery. Property of a London gentleman.

LITERATURE

Cf. The V&A Museum, accession number IM.74-1939, for similar.

255

VERY LARGE INDIAN DECCAN FOLDING QUR'AN HOLDER

17TH-18TH CENTURY A.D.

28½ in. (4.5 kg, 72.5 cm).

A folding wooden Qur'an holder with intricately carved floral and foliate designs to the outer faces; two legs formed on either side with the creation of a scalloped arch; border of shallow geometric forms composed of dot-in-ring motifs to the perimeter of the interior face.

£1,200 - 1,700

PROVENANCE

Acquired in the 1980s-1990s.

Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

For charges payable in addition to the final hammer price of each Lot see paragraphs 19 & 26 of buyer's T&C's

256

INDIAN MAN AND DOG K.K. HEBBAR SKETCH

DATED [19]56 A.D. 13⅜ x 10¼ in. (1 kg, 34 x 26 cm).

A framed and glazed sketch of a man lying beside a dog; ink on paper; signed lower left; attributed to K.K. Hebbar and dated '56. £1,000 - 1,400

PROVENANCE

Personal collection of Harmadar Singh Thind; thence by descent. Private family collection of a West London gentleman.

FOOTNOTES

K.K. Hebbar (1911-1996) was an Indian painter and art teacher, whose earlier works are best known for illustrating the social life of the common people in his country. He received the Padma Bhushan award in 1989. His style transitioned from academic realism to near-abstraction over the course of his career.

257

INDIAN EROTIC F.N. SOUZA SKETCH

DATED 1970 A.D. 20 x 15⅜ in. (92 grams, 51 x 39 cm).

A framed, untitled erotic sketch portraying two nude women; ink on paper; attributed to F.N. Souza, dated 1970. £1,000 - 1,400

PROVENANCE

Personal collection of Harmadar Singh Thind; thence by descent. Private family collection of a West London gentleman.

FOOTNOTES

Francis Newton Souza (1924-2002) was an Indian-American British artist, born in Goa, India. He went on to become one of India's most influential modern artists. Souza was a founding member of the Progressive Artists' Group, which largely disbanded after he moved to London in 1949. His work is executed in a style which exhibits both decadence and primitivism. The world record at auction for the artist's iconic works stands at $4,085,000.

258

INDIAN NASREEN MOHAMEDI PENCIL AND INK ON PAPER

20TH CENTURY A.D. 35½ x 24¼ in. (3.5 kg, 90 x 61.5 cm).

An untitled framed and glazed line-based drawing; ink and pencil on paper; attributed to Nasreen Mohamedi (1937-1990). £4,000 - 6,000

PROVENANCE

Personal collection of Harmadar Singh Thind; thence by descent. Private family collection of a West London gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11529-194136.

FOOTNOTES

Nasreen Mohamedi (1937-1990) was an Indian artist best known for her linebased works. Today, she is considered one of the most influential artists to emerge from post-Independence India and one of the most significant artists within the modernist tradition. Mohamedi's oeuvre can be characterised as one of conceptual complexity and visual subtlety. Her work has received great international critical acclaim in recent years.

259

INDIAN N.S. BENDRE RIVER GHAT PAINTING

DATED [19]61 A.D.

18¾ x 25¼ in. (1.85 kg, 47.5 x 64 cm).

A painting of the River Ghat and development along its banks; oil on canvas; signed bottom right; attributed to N.S. Bendre and dated '61. £8,000 - 10,000

PROVENANCE

Personal collection of Harmadar Singh Thind; thence by descent. Private family collection of a West London gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11530-194130.

FOOTNOTES

Narayan Shridhar Bendre (1910-1992) in Madhya Pradesh, where he trained at the State Art School, prior to taking the Government Diploma in art from Bombay in 1933. He won the Silver Medal from the Bombay Art Society in 1934, followed by the gold in 1941 and a number of national recognised awards over the course of his career. His subject matter was predominantly landscapes and portraits in oil and gouache. Bendere was influential in the formation of the Baroda Group of Artists in 1956.

in. (16½ in.)

total,

An Archaic bronze helmet of Corinthian type with bulbous crown and

neck guard;

cheek protection and

disposed

around the eyes and

nose guard

to a

slightly

for the attachment of the inner

by a

261 GREEK TINNED CHALCIDIAN HELMET 4TH-3RD CENTURY B.C. 12 in. (16¾ in.) (945 grams, 30.5 cm high (2.16 kg total, 42.5cm high including stand)).

A tinned bronze Pontic helmet of Chalcidian type with the dome divided into two by a carinated ridge, the lower edge with cut-outs for ears and eyes with flared edges, short lanceolate nose-guard; fitted with removable cheek-pieces, each with a perforation for the chinstrap, short angular neck guard; accompanied by a custom-made display stand. £5,000 - 7,000

PROVENANCE

PROVENANCE

Strömberg, Denmark, collection.

of a Northern European

by an

by an

by

report by

acquired in 2004.

with 'S17'

the Interpol Database of

on one side.

Raffaele D'Amato.

works of

no.11435-193664.

LITERATURE See Snodgrass, A.M., Arms & Armor of the Greeks, London, 1967; Bottini, A., Egg, M., Von Hase, F. W., Pflug, H., Schaaf, U., Schauer, P., Waurick, G., Antike

Sammlung Lipperheide und andere Bestände des Antikenmuseums

, Mainz, 1988, pp.65ff.; D’Amato, R., Salimbeti, A., The Carthaginians, 6th -2nd Century B.C., London, 2014; see similar helmets in Hixenbaugh, R., Ancient Greek Helmets, a complete guide and catalogue, New York, 2019, C262, p.375, C442, p.615.

FOOTNOTES

The Corinthian helmet was the most common military headgear associated with the heavily armoured Hoplites between the 7th and the 5th centuries B.C. This particular specimen belongs to the second authoritative form of the Corinthian typology, which emerged during the second quarter of the 7th century B.C., from the yet primitively structured helmet of the first stage (Bottini, Egg, Von Hase, Pflug, Schaaf, Schauer, Waurick, 1988, p.76).

Private collection of Comte de Bressac, France. Sold in London after 1918. English private collection until the 1960s. Later in a London, UK, private collection. Accompanied by an academic report by military specialist Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11532-195912.

LITERATURE See Ohly, D., Die Ägineten, Die Ostgiebelgruppe, Munich, 1976; Pflug, H., 'Chalkidische Helme' in: Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.137-150;

FOOTNOTES

ARCHAIC GREEK CORINTHIAN HELMET

CENTURY B.C.

EARLY 4TH CENTURY B.C.

in. (1.5 kg total, helmet: 32.5cm).

A bronze helmet of Type V, Kunze Group VII, the bowl hammered from a single piece with a central ridge, the lower part of the bowl separated by an indented shoulder; arched cut-outs for the ears and eyes, and a short neck guard to the rear, short lanceolate nose-guard developing into thick eyebrows with flared edges; the lower edge fitted with hinged cheek pieces; accompanied by a custom-made display stand.

£5,000 - 7,000

PROVENANCE

Austrian collection, 1974-1998.

private English collection from 1998-2020.

by an academic report by military specialist Dr Raffaele D'Amato.

A bronze helmet of Pseudo-Illyrian variant 1 of Symonenko classification, the bowl formed from two overlapping pieces rivetted together, decorated with raised ribs running from front to back, with the middle band splitting at the rear and forming the upper circumferential on the lower edge of the helmet; later added hinged cheek-pieces, contoured and with a hole for the attachment of a chin strap; accompanied by a custom-made display stand. £3,000 -

lot has been

against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10871-178854.

LITERATURE

Ohly, D., Die Ägineten, Die Ostgiebelgruppe, Munich, 1976; Pflug, H., 'Chalkidische Helme' in: Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.137-150; Chernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998.

FOOTNOTES

The Chalcidian type of ancient Greek helmet was essentially a lighter and less restrictive form of the Corinthian helmet. Later Chalcidian helmets had hinged cheek-pieces that were anatomically formed to fit closely to the face. The representation of these helmets with mobile and raised cheek-pieces (type V) appear on Attic vase paintings from the early 5th century BC, although the first four typologies still show fixed elements for the face protection as in their Corinthian prototypes. Contemporary to these representations are the sculptures of the temple of Aphaia in Aegina, where these helmets are widely represented and which represent the first examples of Chalcidian helmets with a short nose-guard. The sculptures of the temple in Aegina also show how these Greek helmets were often painted: the bowl of the sculpted Chalcidian helmets show traces of dots in blue colour (Ohly, 1976, n.38 pp.94ff.), and the polychrome (which could have different variants) has been restored by German archaeologists (Brinkmann & Wünsche, 2004, p.107).

GREEK TINNED CHALCIDIAN HELMET

263 SCYTHIAN DECORATED PSEUDO-ILLYRIAN HELMET 3RD-1ST CENTURY B.C. 12⅝ in. (16⅜ in.) (698 grams, 32 cm high (1.9 kg total, 41.5 cm high including stand)).

264

ROMAN PFRONDORF TYPE CAVALRY SPORTS HELMET

LATE 2ND-EARLY 3RD CENTURY A.D. 10½ in. (2.1 kg total including stand, 27 cm).

A bronze sport helmet of 'Pfrondorf Type', with female features, possibly representing a gorgon (Medusa), comprising a two-part helmet with a back plate, the face piece originally with a removable inner mask; the skull embossed with stylised representations of hair along the sides and collected at the lower centre of the back to a chignon, the centre decorated by a red cabochon; two snake heads on the upper part of the skull, the bodies of which are decorated with scales chiselled on the surface; the edge of the skull decorated with punched triangles and a line representing the crown of the hair around the face; a small flat neck guard; a hinge to the top of the head allowing the mask to be raised; the T-opening for the face was not always present in this type of helmet.

£25,000 - 35,000

PROVENANCE

Swiss family collection since before 1980. Dutch private collection since the 1990s. Important East Anglian collection of arms and armour. Accompanied by a metallurgic analytical report, written by metallurgist Dr Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 144723/HM1364. Accompanied by an academic report by military specialist Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.144723-10011.

LITERATURE See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; Born, H., and Junkelmann, M., Römische Kampf-und Turnierrüstungen, Band VI, Sammlung Axel Guttmann, Mainz, 1997; D'Amato, R. and Negin, A., Decorated Roman Armour, London, 2017; D'Amato, R. and Negin, A., Roman Heavy Cavalry (1), Cataphractarii and Clibanarii, 1st century BC-5th century AD, Oxford, 2018.

FOOTNOTES

This mask helmet belongs to the category of Roman mask helmets used during military games and pageants, which also functioned as training, such as those described by Arrian of Nicomedia in the ‘Tactica’. The simpler versions of such masks could also be used in battle, particularly by the heavy cavalry division (catafractarii). The distinguishing feature of such masks is the removable central area, along with a two-part construction. The Pfrondorf helmet, now held in Stuttgart, which gives its name to the typology, is the best and most complete of such specimens, which are rare in such good condition. Helmets with a facial cut-out often display the image of Medusa, with reference to her terrifying ability to turn people to stone.

Lot

265

ROMAN GLADIUS SWORD BLADE

1ST-2ND CENTURY A.D.

24½ in. (470 grams, 62.5 cm).

A double-edged gladius sword blade of Pompeii type of piled construction with long, parallel cutting edges tapering sharply towards the triangular point, battle nicks to the sides; the blade lentoid-section with long flat-section tang.

£1,000 - 1,400

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

LITERATURE

See Curle, J., A Roman Frontier Post and its People, the Fort of Newstead in the Parish of Melrose, Glasgow, 1911; Bishop, M.C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007, no.A453, pl.31.

266

ROMAN PUGIO KNIFE BLADE

2ND CENTURY A.D.

14⅜ in. (256 grams, 36.5 cm long).

An iron short dagger or pugio of early 'Kunzing Type', with doubleedged blade, the blade characteristically leaf-shaped with pronounced waist and a double longitudinal channel defining the rib, typical of this category; the grip would originally have been covered with bone or other organic material, having inverted T-shaped grip plates and crescentic pommel.

£800 - 1,000

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

LITERATURE

See Bishop, M. C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Bishop, M. C. & Coulston, J.C.N., Roman military equipment from the Punic Wars to the fall of Rome, London, 2006.

267

ROMAN JULIUS CAESAR SLING SHOT FROM THE BATTLE OF MUNDA

45 B.C.

1⅜ in. (65.04 grams, 37 mm).

A lentoid-section lead slingshot (glans) specimen with monogram: a combination of the letters 'C', 'A' and 'E', for 'C A E S' referring to Julius Caesar.

£500 - 700

PROVENANCE

Found near to an import village close to Seville, 1960-1970.

From an old Spanish collection.

Swiss private collection.

Accompanied by a copy of a Spanish export licence.

Accompanied by an academic paper by military specialist Dr Raffaele D'Amato, dated 4th May 2022 and titled Roman Res Publica - Lead Slingshots (glandes) of Caesarian Age - 45 B.C circa.

LITERATURE

Cf. D'Amato, R. and Sumner, G., Arms and Armour of the Imperial Roman Soldier: From Marius to Commodus, 112 BC-AD 192, London, 2009, fig.32, p.45, for similar glandes from Zaragoza Museum, the one with the name of Pompey inscribed coming from Munda battlefield too; Schinco, G., Small, A.M., 'A previously unknown siege of Botromagno/Silvium: the evidence of slingshots from Gravina in Puglia (Provincia di Bari, Puglia)' in Papers of the British School at Rome, 2019, pp.1-52, figs.31,37.

FOOTNOTES

The shot (type IIb of the Völling classification) is marked with the abbreviated name of Julius Caesar; it was used in quantity at the Battle of Monda (or Munda) against the last fellows of Pompey, the leaders of the Optimates, on the 17th March 45 BC. Similar shots were used in the civil war among Pompey and Caesar, and in all Caesar's wars. The funditores of Caesar's age were part of the light infantry. Caesar speaks of his Balearic slingers during the conquest of Gaul, who were usually covered by a short tunic, leather or rope sandals, a coat to cover them, but which could also have been used to store projectiles. Rather, they used a satchel to carry very deadly lead-like stones or bullets. The men employed several slings: one was tied around the head for quick employment should the other break during the battle.

268

ROMAN JULIUS CAESAR SLING SHOT FROM THE BATTLE OF MUNDA

45 B.C.

1⅜ in. (61.16 grams, 35 mm).

A lentoid-section lead slingshot (glans) specimen with monogram: a combination of the letters 'C', 'A' and 'E', for 'C A E S' referring to Julius Caesar. £500 - 700

PROVENANCE

Found near to an import village close to Seville, 1960-1970.

From an old Spanish collection.

Swiss private collection.

Accompanied by a copy of the Spanish export licence. Accompanied by an academic paper by military specialist Dr Raffaele D'Amato, dated 4th May 2022 and titled Roman Res Publica - Lead Slingshots (glandes) of Caesarian Age - 45 B.C circa.

EASTERN ROMAN JEWELLED CAVALRY SPATHA SWORD

5TH-6TH CENTURY A.D.

41 in. (1.1 kg total, 104 cm).

An Eastern Roman or Gothic iron two-edged cavalry spatha sword with a parallel-sided blade and broad pointed tip; nicks and gouges to both cutting edges; lentoid-section bronze lower guard comprising a gilt plate decorated with a suite of cloisonné garnets divided horizontally, each a rectangle with curved leading and trailing edge, and vertical panels to the centre and edges; a long tapering tang of flat section; a gold repoussé band from the original scabbard with incised geometric pattern, set in a modern black leather-on-wood scabbard for display.

£12,000 - 17,000

PROVENANCE

Private Eastern-European collection since the mid-1960s, kept in Germany since 1991.

Private German collection, Mainz, German, since 2004. Accompanied by an academic report by military specialist Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10532-171768.

LITERATURE

See Behmer, E., Das zweischneidige Schwert der germanischen Völkerwanderungszeit, Stockholm, 1939; Périn, P., Kazanski, M., ‘La tombe de Childéric, le Danube et la Méditerranée’ in Villes et campagnes en Neustrie, (Europe médiévale, 8) Montagnac, 2007, pp.29-38; Lebedinsky, I., Armes et guerriers barbares au temps des grandes invasions, Paris, 2001; Spier, J., Treasures of the Ferrell Collection, Wiesbaden, 2010.

FOOTNOTES

The sword belongs to Type III of Behmer's typology (see especially pl.VI, 3a4b), although it is highly probable that the pommel, the scabbard decoration and the chape were realised in so-called Type IV, i.e. swords with PonticSarmatian influence. Among the long Pontico-Caucasian weapons, the sword from Mokraja-Balka (Russia, north of the Caucasus, around Kislodovsk) shows a near-identical trapezoidal guard with garnet cloisonné.

270 ANGLO-SAXON SILVER INLAID SEAX

6TH-8TH CENTURY A.D. 10⅝ in. (138 grams, 27 cm).

A seax knife blade with angled back, straight cutting edge, the straight part of the blade decorated with silver inlaid wave pattern. £1,000 - 1,400

PROVENANCE Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

LITERATURE

Cf. Underwood, R., Anglo-Saxon weapons and warfare, Stroud, 1988, pl.13, pp.68ff.

271

KHAZAR SABRE WITH GILT CROSS GUARD WITH FACE

9TH CENTURY A.D.

31⅝ in. (610 grams, 80.5 cm).

A single-edged hand-forged sabre with a gently curving blade, an iron band welded beneath the cross guard, together with a tongue along the side of the blade; the separate gilt cross guard with spherical ornamented finials to the quillons, the central panel with a stylised face flanked by a pair of leaping lions biting the top of the head, the other side with a lozenge within a ropework frame.

£3,000 - 4,000

PROVENANCE

Acquired 1971-1972.

From the collection of the vendor's father.

Property of a London, UK, collector.

Accompanied by an academic report by military specialist Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 114437-196034.

LITERATURE

Cf. similar specimens in Zakharow, A., Arendt, W., Studia Levedica, Archaeologischer Beitrag zur Geschichte der Altungarn im IX JH., Budapest, 1935, fig.21, p.54, fig.22, p.56 (guards), pls. III,VI nos. 3,5; Lebedinsky, I., De l’epée scythe au sabre mongol, Paris, 2008, pp.172ff.; Gorelik, M., ‘The image of the men-warrior in Kabaria-Ugria-Russia (in Russian)’ in Archaeology of the Eurasian Steppes, no.5, Kazan, 2017, pp.257-267, fig.1, nos.1,5; Fodor, I., Revesz, L., Wolf, M., Nepper, I.M., Morigi Govi, C., Gli Antichi Ungari, nascita di una nazione, Bologna, 1998, p.132, no.117 (cat.515); Bashir, M., The Arts of the Muslim Knight, The Furusiyya Art Foundation Collection, Milano, 2008, p.34.

FOOTNOTES

This exceptional sabre shows similarity with examples from the Caucasus and Kuban regions. The blade could be Khazar-Magyar, and certainly its best parallels are the specimens from Verchne-Szaltovo area. According to M. Gorelik, some of these sabres were produced by the Kabarians, a breakaway tribe from the Khazar State, who formed an alliance with the Magyars. The extra band welded beneath the quillons, together with the side tongue, not only protected the scabbard from being cut by the blade but, more importantly, defended the warrior’s fingers which were wrapped around the quillons when fighting.

272 VOLGA-URAL NOMAD SABRE

9TH-11TH CENTURY A.D. 35 in. (725 grams, 89 cm).

An iron single-edged sabre with slightly curving blade showing battle nicks, evidence of a possible iron extension together with a tongue to the side of the blade, beneath the straight guard. £800 - 1,000

PROVENANCE

Acquired 1971-1972. From the collection of the vendor's father. Property of a London, UK, collector. Accompanied by an academic report by military specialist Dr Raffaele D'Amato.

LITERATURE

Cf. similar specimens in Харламов, П.В., ‘Weapons complex of the Nomadic tribes of the Volga-Ural Region in the 9th -11th Centuries (in Russian)’ in Archaeology of the Eurasian Steppes, Vol. I, Kazan, 2017, pp.364-379, esp.figs.6, 14; Lebedinsky, I., De l’epée scythe au sabre mongol, Paris, 2008, pp.172ff.; for discussion on the sabres see Pletneva, S.A., Antiquities of black hoods (in Russian) SAI. Issue, E1-19, Moscow, 1973; Evglevsky, A.V., Potemkina, T.M., ‘Eastern European late nomadic sabers’ in Evglevsky, A.V., European Steppes in the Middle Ages, Vol.1, Donetsk, 2002, pp.291-336.

FOOTNOTES

Various sabres of similar typology were found in a complex of medieval nomad weapons in archaeological excavations in the steppe and forest-steppe zone of the Volga-Ural region; chronologically, they were dated to the 9th-11th centuries.

VIKING SWORD WITH SILVER INLAID HILT 10TH-EARLY 11TH CENTURY A.D.

35⅞ in. (1.5 kg, 91 cm long).

An iron double-edged cutting sword of Petersen Type S variant, the well-defined cutting edges showing strong traces of employment on a battlefield, shallow tapering fullers and a hefty tang; both boatshaped guards decorated with the remains of Jellinge Style interlaced silver inlay, three-lobed pommel with similar decoration, the lobes separated by inlaid silver segments. £4,000 - 6,000

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister. Accompanied by an academic report by military specialist Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114438-195542.

LITERATURE

See Petersen, J., De Norske Vikingsverd, Oslo, 1919; Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Peirce, I., Swords of the Viking Age, Suffolk, 2002; Marek, L., Early Medieval Swords from Central and Eastern Europe: Dilemmas of an Archaeologist and a Student of Arms, Wrocław, 2005; Hjardar, K. & Vike, V., Vikings at war, Oxford-Philadelphia, 2016, p.169, for the type; the sword finds good parallels in various similar Viking age specimens, like the sword from Mixnam’s pit, Chertsey, today at the Chertsey Museum (Peirce, 2002, pp.98ff.).

FOOTNOTES

It is believed that the Type S swords were developed in the 10th century from the older Type D swords. The Type S was often characterised by splendid decoration achieved with silver and copper inlays. Usually the decoration was realised using silver wire, which was wound around copper wire and then hammered into the base metal which had been prepared by scoring the surface to secure the overlay. The design was then bordered by fine copper wires. A similar sword was found in the famous grave of the Gjermundbu Chieftain (Hjardar & Vike, 2016, p.169).

274

VIKING SWORD WITH COPPER AND LATEN INLAID HILT 10TH-11TH CENTURY A.D.

35 in. (1.09 kg, 89 cm long).

A double-edged sword of Petersen Type X with a tapering blade with shallow fullers and wide cutting edges, showing evidence of use on the battlefield; the solid tea-cosy type pommel and the cross guard inlaid with vertically arranged decorative patterns of copper and laten, the pommel divided into three sections with a wider inlay. £4,000 - 6,000

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

Accompanied by an academic report by military specialist Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114439-195544.

LITERATURE

Cf. Petersen, J., De Norske Vikingsverd, Oslo, 1919; Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Jakobsson, M., Krigarideologi och vikingatida svardstypologi, Stockholm, 1992; Peirce, I., Swords of the Viking Age, Suffolk, 2002; the sword finds good parallels in various similar Viking age specimens, including a very similar specimen in the Musée de l'Armée, Paris (inv. no. JPO 2253, s. Peirce, 2002, pp.118-119).

FOOTNOTES

The chronology of Type X swords ranges from the 10th until the 12th century and most of the preserved swords of the Viking Age fall into this category. The fact that the cross and pommel are decorated with strips of copper and gilding, engraved with tiny chevrons and inlaid on the iron of the well-preserved hilt, confirms that the sword belonged to an elite warrior.

275

VIKING SWORD WITH FIVE-LOBED POMMEL

10TH CENTURY A.D.

35¾ in. (805 grams, 91 cm).

A double-edged sword of Petersen Type L with a tapering blade and sharp point, both cutting edges showing strong traces of employment on a battlefield, tapering fullers and a long tang; boat-shaped cross guard gently curving towards the blade; five-lobed pommel with traces of silver inlay.

£3,000 - 4,000

PROVENANCE

Acquired 1971-1972. From the collection of the vendor's father. Property of a London, UK, collector.

Accompanied by an academic report by military specialist Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 114440-196033.

LITERATURE

Cf. Petersen, J., De Norske Vikingsverd, Oslo, 1919, p.112ff.; Wilson, D.W., ‘Some Neglected Late Anglo-Saxon Swords,’ in Medieval Archaeology, 1965, pp.32-54; Peirce, I., Swords of the Viking Age, Suffolk, 2002; abi ski, G., ‘Viking Age Swords from Scotland’, in Acta Militaria Mediaevalia III, Kraków, Sanok, 2007, pp.29–84; the sword finds parallels in various similar Viking age specimens of L variant; two very similar swords, both at the British Museum, have been published by Peirce (2002, pp.77-81); similar boat-shaped guard and five-lobed pommel are visible on a sword from Mileham, Norfolk, (Castle Museum, Norwich, inv. no. 2IO.949, see Wilson, 1965, pl.VIa) with a pattern welded blade.

FOOTNOTES

This type, considered as Anglo-Saxon in origin, is usually dated to 850-975 A.D., and is considered to form a distinctive group of Viking Age swords. Although used by the Vikings, it is probable that these swords were of English manufacture or inspiration.

276

VIKING AGE SWORD WITH DECORATED CROSS GUARD

EARLY 10TH-MID 11TH CENTURY A.D. 34 in. (875 grams, 86.5 cm).

A single-handed sword of Petersen Type X with a double-edged tapering blade, shallow fullers and wide cutting edges showing battle nicks; the lower guard decorated with deep grooves forming a zig-zag pattern, solid tea-cosy type pommel. £3,000 - 4,000

PROVENANCE

Acquired 1971-1972. From the collection of the vendor's father. Property of a London, UK, collector. Accompanied by an academic report by military specialist Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114441-196037.

LITERATURE

See Petersen, J., De Norske Vikingsverd, Oslo, 1919; Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Viollet le Duc, Encyclopedie Médiévale, Tours, 1999; Peirce, I., Swords of the Viking Age, Suffolk, 2002; the sword finds good parallels in various similar Viking age specimens, like the sword kept in the Musée de l'Armée, Paris (inv. no. JPO 2253, s. Peirce, 2002, pp.118-119) or the one in Nationalmuseet, Copenhagen, inv. n. C8727; a similar blade was found in Grodziec, Poland, and dated to 10th century.

FOOTNOTES

Swords of Type X are depicted on the Bayeux tapestry (Viollet Le Duc, 1999, p.299). The grooves on the guard of our blade suggest that the owner was someone of high status.

MEDIEVAL HAND-AND-A-HALF SWORD WITH INLAID ORB AND CROSS

EARLY 14TH CENTURY A.D. 44¾ in. (1.5 kg, 113.5 cm long).

An iron hand-and-a-half sword of Oakeshott Type XVIa, cross guard of style 6 and pommel Type G; a long tapering blade with a sharp tip, the fullers covering two-thirds of the length, each side with an inlaid orb and cross; curved cross guard and plain disc pommel. £3,000 - 4,000

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister. Accompanied by an academic report by military specialist Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 114442-195543.

LITERATURE

See Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Oakeshott, E., Records of the Medieval Sword, Woodbridge, 1991; Oakeshott, E., The sword in the Age of the Chivalry, Woodbridge, 1964 (1994); Oakeshott, E., Sword in hand, London, 2001; very similar specimen in Michalak, A., ‘Bro w wodnej toni. Uwagi o akwatycznych znaleziskach broni pó no redniowiecznej na marginesie odkry z Lutola Mokrego / Weapon in the deep water. Some remarks of aquatic finds’ in Jaszewska, A., Michalak, A., Woda - ywio ujarzmiony i nieujarzmiony, Konferencja w Janowcu, 24-25 V, 2012, (Wateran element subjugated and untamed, Conference in Janowiec in Polish) Zielona Gora, 2015, fig.2,1, weapon dredged from river Obra near Lutol Mokry.

FOOTNOTES

The symbol engraved on the blade seems to be a variation of the sign in which a cross is attached to the base of a heart, which appears quite abundantly in materials from 14th century Central Europe. The sign can be interpreted as a maker's mark and as a symbolic sign with Christian connection.

278

MEDIEVAL SWORD WITH INLAID CROSSES POTENT

12TH-LATE 13TH CENTURY A.D. 37 in. (1.47 kg, 93.5 cm).

A long double-edged cutting sword with broad tapering blade, the cutting edges bearing a lot of evidence of use on the battlefield; the fullers decorated with later inlays of three crosses potent; the guard of type 1, the broad albeit short tang, tapering towards a plain walnut style pommel, D-shaped with slightly curved lower edge (type A). £1,200 - 1,700

PROVENANCE

Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

LITERATURE

Cf. Oakeshott, E., Sword in hand, London, 2001; Peirce, I., Swords of the Viking Age, Suffolk, 2002, pp.124-125, for a parallel.

FOOTNOTES

Most probably our specimen is a battlefield or a river find, or from a grave. Many swords of similar type can be classified as German craftsmanship, and it is known that this kind of pommel was in use until the 13th century. The straight guard with thick straight quillons are typical of the style Xa (and XI) of Oakeshott classification.

MEDIEVAL HAND-AND-A-HALF SWORD

CIRCA 1375-1430 A.D. 37¾ in. (905 grams, 96 cm).

An iron hand-and-a-half sword of Oakeshott Type XVIII, cross style 7 and pommel style I1; the tapering blade with straight edges; the lower guard gently curving towards the blade, long tang tapering towards the facetted pommel. £1,800 - 2,400

PROVENANCE

Acquired 1971-1972. From the collection of the vendor's father. Property of a London, UK, collector. Accompanied by an academic report by military specialist Dr Raffaele D'Amato.

LITERATURE

Cf. Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Oakeshott, E., The sword in the Age of the Chivalry, Woodbridge, 1964 (1994); Oakeshott, E., Records of the Medieval Sword, Woodbridge, 1991; Oakeshott, E., Sword in hand, London, 2001 (2007); similar specimen in Oakeshott, 1964, pl.36; also in Oakeshott, 1991, p.187, sword formerly in the collection D’Acre Edwards, now on loan on the Royal Armouries (pommel T.5, facetted and crossstyle of type 4, but similar in the blade).

FOOTNOTES

The type XVIII swords were developed in late 14th century and are typical of English effigies and brasses in 1370–1425 A.D. As the previous types of swords were practically useless against the fully armoured man-at-arms, the Western European warfare needed a sword able to pierce the weak points of the protective equipment.

280

MEDIEVAL LONG SWORD WITH COCKED-HAT POMMEL

MID 12TH-13TH CENTURY A.D. 36½ in. (1.2 kg, 93 cm).

A well-balanced iron long sword of Oakeshott Type Xa-XI with doubleedged blade, gently tapering profile with round point, fitted with well-formed fullers running down to within a few centimetres from the point, cutting edges with evidence of use; parallel-sided straight lower guard (cross style 1a), expanding in the écusson to accommodate the medium tang, cocked-hat pommel of type C or D.

£3,000 - 4,000

PROVENANCE

Acquired 1971-1972. From the collection of the vendor's father. Property of a London, UK, collector. Accompanied by an academic report by military specialist Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 114443-196036.

LITERATURE

Cf. Oakeshott, E., The sword in the Age of the Chivalry, Woodbridge, 1964(1994); Oakeshott, E., Records of the Medieval Sword, Woodbridge, 1991; the sword finds good parallel with a sword preserved in Museum fur Deutsche Geschichte, Berlin (Oakeshott, 1991, p.48) fitted with a same style pommel.

FOOTNOTES

The sword belongs to Oakeshott Type XI of “war sword” or more probably to a transitory type between type Xa and type XI. Type XI has generally been held to belong to the period of c. 1120-1200/1220, but since 1964, research has given it a much earlier dating, going back to Anglo-Saxon times (Oakeshott, 1964/1994, p.32). A beautiful sword of this type was found in a Suffolk ditch at Fornham, on the site of a battle fought in 1173 A.D. between Henry II and the Earl of Leicester.

281

LARGE TRANSCAUCASIAN ARMOUR BELT CLASP

9TH CENTURY B.C.-2ND CENTURY A.D. 9⅝ in. (1.26 kg, 24.5 cm high including stand).

A large openwork bronze belt fastener comprising a square frame with a triple band of running low-relief scrolls within borders and a tall conical boss at each corner; central figure of an advancing mare with head bowed, applied braided wire detailing to the mane and tail, twoband braided halter to the neck, incised ring-and-dot motif to shoulder and hip; beneath the body between the thin legs, a foal with head raised to suckle; before the chest, a small long-tailed animal (squirrel?) climbing on the mare's harness; above its back, a larger creature with curved legs and a D-shaped facing mask with curved spiral horns (an ibex?) forming the securing point for a strap; fixing loop and lug to the reverse; mounted on a custom-made stand. £8,000 - 10,000

PROVENANCE Acquired 1971-1972. From the collection of the vendor's father. Property of a London, UK, collector. Accompanied by an academic report by military specialist Dr Raffaele D'Amato. Accompanied by a printout of a similar example held in the Metropolitan Museum, accession number: 21.166.7, from the collection of Claude Anet, Paris (1913-1921), acquired by the museum in 1921. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 114444-196039.

LITERATURE Cf. Denwood, P., Archaeology in Asia, volume 7, University of London, June 27-29, London, 1977, p.106, no.138; Ettinghausen, R., ‘Das Pferd in der Orientalischen Kunst’ in Du: das Kulturmagazin, Bd.6, Zurich, 1978, pp.64-73; Harper, P.O. et al., ‘Ancient Near Eastern Art’ in The Metropolitan Museum of Art Bulletin, 41 (4), Spring, 1984, p.35, fig.43; Muscarella, O.W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, p.439, no.584; Curtis, J.E., Tallis, N., The horse, from Arabia to Ascot, London, 2012; the most complete work on the topic is now in Castelluccia, M., Transcaucasian Bronze Belts, University of Michigan, 2017; and Christie's, New York, 11 December 2009, lot 64 (US$60,000-90,000).

FOOTNOTES

There are several bronze belt fittings of this type in the Metropolitan Museum of Art, New York, (Muscarella, 1988, items 581-4) and Muscarella (p.440) notes that a total of 181 were known at the time of his publication (1988). Another important specimen is at the British Museum (Curtis & Tallis, 2012, p.122). They all show a large quadruped (caprid, cervid or equid) in a braided square frame, mostly with a stud at each corner.

addition

the final hammer

LURISTAN ADZE-AXE WITH MASK

EARLY 1ST MILLENNIUM B.C. 6¾ in. (6⅜ in.) (338 grams, 17.3 cm wide (652 grams total, 16.2 cm high including stand)).

A bronze adze-axe head composed of a tapering cylindrical socket and two heads, one perpendicular and one horizontal to the socket, the top of the socket with pellets to the rim and horizontal ribs to the faces, with a stylised human face mask to both sides, each with different features; mounted on a custom-made stand. £400 - 600

PROVENANCE

Acquired 1980-2015. Ex Abelita family collection. Accompanied by an old illustrated catalogue card.

283

BABYLONIAN DUCK-BILLED AXEHEAD

2ND MILLENNIUM B.C. 4⅛ in. (231 grams, 10.5 cm).

A bronze axehead with ovoid socket and ribbed tongue-shaped blade, two elliptical piercings to each face extending to the socket. £250 - 350

PROVENANCE

Acquired 1990-2000. From a Parisian collection. French collection 2000 onwards.

284

AMLASH MACEHEAD WITH LIZARDS

2ND MILLENNIUM B.C. 7⅝ in. (286 grams, 19.5 cm).

A hollow-formed bronze cudgel with rounded end and flange to the mouth, openwork sidewall with four lizards modelled in the half-round. £300 - 400

PROVENANCE

Acquired 1980-2015. Ex Abelita family collection.

285

LURISTAN MACEHEAD

EARLY 2ND MILLENNIUM B.C. 7 in. (328 grams, 17.8 cm).

A bronze macehead comprising a long cylindrical shaft with narrow flanged base, the upper section with three vertical relief panels decorated by herringbone pattern, divided and bordered by three parallel ridges, similar band with three ridged horizontal grooves around the base. £300 - 400

PROVENANCE

Acquired 1980-2015. Ex Abelita family collection.

LITERATURE

See Godard, A., Les Bronzes du Luristan, Paris, 1931, pl.XIX, no.58, for a similar mace; see also Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 2002, p.24, nos.18-19; Khorasani, M. M., 'Bronze and iron weapons from Luristan' in Antiguo Oriente: Cuadernos del Centro de Estudios de Historia del Antiguo Oriente, 7, 2009, fig.8.

FOOTNOTES

This gorz mace head belongs to the category of truncheon-shaped maceheads, a type developed on the Iranian plateau during the Bronze Age, used by Elamite and Luristan warriors since the 3rd millennium B.C. This category of objects was also interpreted as a part of a shaft, but most scholars agree on the interpretation of use as a mace.

287

286

LURISTAN HORSE BIT WITH HORSES

11TH-8TH CENTURY B.C.

6¼ in. (415 grams, 16 cm wide).

A bronze horse-bit with horse-shaped cheekpieces, each with small ears, elongated heads and long tails, a circular opening to the body for the bar to pass through, a ringed collar around the neck and another ring to the rump, two spurs to the reverse. £1,500 - 2,000

PROVENANCE

Acquired 1980-2015. Ex Abelita family collection.

LITERATURE

Cf. Legrain, L., Luristan Bronzes in the University Museum, Philadelphia, 1934, pl.XVIII no.52; Musee' Cernuschi, Bronzes de Luristan, enigmes de l'Iran Ancien, IIIe-Ier millenaire av. J.C., Paris, 2008, p.111, no.71, 112, nos.72-73, for similar types.

FOOTNOTES

In Luristan, the horses were usually buried with the bronze horse bit in their mouths, as shown by finds from Sarkishti, where the horses’ teeth were stained green.

287 VOLGA SILVER-GILT SWORD BELT MOUNT GROUP

11TH-12TH CENTURY A.D.

⅞ - 10⅝ in. (285 grams total, 2.2-26.5 cm).

A group of silver-gilt mounts set on six later leather display backings; four sections displaying rounded pentagonal mounts bearing a figurative foliate design enclosed by pellet borders; two lengths displaying more of the aforementioned mounts; one with the addition of an openwork buckle plate with volute arms arranged into a V-shape

and central flower head; one section incorporating a strap end with a domed face, medial channel and pellet border; accompanied by a silver-gilt buckle. [7] £800 - 1,000

PROVENANCE

Acquired in the 1980s-1990s. Ex an important central London gallery, London W1.

LITERATURE

Cf. Руденко, К.А., (X - XIII .), History of the archaeological study of the Volga Bulgarians (10th - beginning of the 13th century, in Russian), Kazan, 2014, figs.179, 759.

FOOTNOTES

The belt fittings found various comparisons with non-ferrous belt appliqués found in the territories of the Volga Bulgars, like specimens from the Semenovsky village. These items were parts of long warrior belts, the leather surfaces decorated all over with such bronze and silver appliqués. Symbols of status and elite warrior aristocracy, these belts also served a utilitarian purpose of suspending weapons such as a bow, quiver or a sabre.

288 KHAZAR SILVER GILT SWORD BELT MOUNT WITH WARRIOR 9TH-10TH CENTURY A.D. ⅞ in. (8.27 grams, 22 mm).

A silver-gilt sword belt mount, square in plan with a slightly convex openwork panel composed of alternating circular cells and leaf-like ovals, central male head with long hair and stylised facial features, possibly wearing a helmet; attachment loop to each corner on the reverse. £500 - 700

PROVENANCE Acquired in the 1980s-1990s.

Ex an important central London gallery, London W1.

For charges payable in addition to the final hammer price of each Lot see paragraphs 19 & 26 of buyer's T&C's

289

MASSIVE STONE AGE GREEN RHYOLITE CEREMONIAL AXEHEAD NEOLITHIC PERIOD, 7TH-4TH MILLENNIUM B.C. 11⅝ in. (1.39 kg, 30 cm).

A very fine and large polished mottled green rhyolite axe head, the round butt tapering to a convex cutting edge. [No Reserve] £600 - 800

PROVENANCE

The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. 290

BRITISH PALAEOLITHIC FLINT HANDAXE

PALAEOLITHIC PERIOD, CIRCA 40,000-20,000 YEARS B.P. 6¼ in. (525 grams, 16 cm).

A bifacial knapped flint handaxe with old inked collection inventory number to one face: 'R.0770.00'. [No Reserve] £300 - 400

PROVENANCE Found UK.

The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. 291

STONE AGE BRITISH POLISHED FLINT AXEHEAD 5TH-3RD MILLENNIUM B.C. 4¾ in. (258 grams, 12 cm).

A finely polished flint axehead with a wedge-shaped profile and convex cutting edge; with old inked collector's inventory number to one face: 'R.0823.02.00'. [No Reserve] £120 - 170

PROVENANCE Found UK.

The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

292

'THE ASHBY MAGNA' BRONZE AGE PENANNULAR RING CIRCA 1400-1140 B.C. ½ in. (11.57 grams, 14.14 mm overall, 8.57 mm internal diameter).

A heavy triple-banded gold penannular ring; each element roughly Cshaped in plan and oval in cross-section. £2,000 - 3,000

PROVENANCE

Found whilst searching with a metal detector on 19th September 2021 in Ashby Magna, Harborough, Leicestershire, UK, by Malcolm Mott. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.LEIC-88F086. Accompanied by a copy of the Treasure report for HM Coroner no.2021 T762. Accompanied by a copy of a letter from the British Museum informing the finder that the Crown's interest in the find has been disclaimed.

LITERATURE

Cf. The British Museum, museum number 1882,0621.11, for similar.

LARGE EUROPEAN BRONZE AGE DECORATED BRACELET

LATER 2ND MILLENNIUM B.C.

4⅛ in. (367 grams, 10.4 cm).

A substantial bronze bracelet formed as a carinated band with flange rims, overlapped D-shaped terminals, bands of punched-point detailing. [No Reserve] £200 - 300

PROVENANCE

Acquired 1980s-1990s.

Ex M. Cummings collection, Lincolnshire, UK.

294

EUROPEAN CELTIC NOTCHED TORC WITH EARRING PAIR

CIRCA 3RD-2ND CENTURY B.C.

2¼ - 5⅞ in. (261 grams total, 5.8-15 cm).

A matching suite of copper-alloy jewellery items comprising: a torc with graduated biconical ribs and hooked terminals with flanges; a matching pair of crescentic earrings decorated with bulbous ribs. [3, No Reserve] £300 - 400

PROVENANCE

UK private collection before 2000. UK art market.

Property of a London gentleman.

295

BRONZE AGE 'THE MANSTON HOARD' PALSTAVE AXEHEAD

14TH-MID 12TH CENTURY B.C.

6½ in. (447 grams, 16.7 cm).

A substantial bronze palstave axehead from the Manston hoard pit deposit, triangular flanges rise from the butt to the stop bar; a hollow to both faces below the septum; narrow body expanding to a wide triangular blade with slight flare at the tips.

£300 - 400

PROVENANCE

Found near Manston, Kent, UK, 2016.

Accompanied by copies of the British Museum PAS report number KENT495597.

Accompanied by Treasure Act documentation under Treasure Reference 2016 T618.

LITERATURE

See Evans, J., The Ancient Bronze Implements, Weapons and Ornaments of Great Britain and Ireland, London, 1881, pp.76-84, and figs.56-68, for similar types; Rowlands, M.J., The Production and Distribution of Metalwork in the Middle Bronze Age in Southern Britain, Oxford, 1976.

PUBLISHED

See Portable Antiquities Scheme, reference PAS KENT-495597, for this find.

FOOTNOTES

At Manston was found a hoard of ten copper-alloy palstave axeheads, in one spot, described as 'one hole' and therefore possibly a pit deposit from the Middle-Late Bronze Age. A similar hoard of palstaves was also found in the immediate vicinity by the same finder at a later date, see PAS KENT-593613. These palstaves are comparable to those placed within Rowlands 'class 3 group 1', characterised by a U-shaped septum profile, low triangular or slightly convex flanges, a straight sided triangular or crinoline blade and a triangular depression or ribbed motif beneath the stop bar (Rowlands, 1976, pp.32-33). Group 1 and 2 within class 3 are divided based on blade width, being 7-8cm and 5-6cm respectively, placing the above axes between the two, but probably within group 1.

296 BRONZE AGE SPLIT SOCKET SPEARHEAD WITH COLLAR

2000-1750 B.C.

10½ in. (152 grams, 26.5 cm long).

A copper-alloy spearhead with leaf-shaped blade with flattened midrib and slightly squared shoulders, spilt socket and fastening collar to the socket.

£400 - 600

PROVENANCE Acquired 1980-2015.

Ex Abelita family collection.

LITERATURE

See Schaeffer, C.F.A., 'Les fondements préhistoriques d’Ugarit' in Ugaritica, IV, Paul Geuthner, Paris, 1962.

297

GALLO-ROMAN STATUETTE OF GOD TARANIS ON HORSEBACK

‡ CIRCA 1ST CENTURY A.D.

5⅛ in. (629 grams total, 13 cm high including stand).

A bronze figure of the god Taranis, naked on horseback; the god shown youthful and muscular with centre-parted hair and neat beard, his right arm bent and hand clutching a thunderbolt, left hand extended holding the reins(?) of the horse, legs spread to sit comfortably on the back of his steed; the horse in an advancing pose with one foreleg raised, mouth pierced to accept separate reins; bridle with plume between the pricked ears, swept mane; saddlecloth with raised border on its back, rectangular slot above the horse's rump; bronze model wheel with six short spokes, ribbed detailing to both faces; the figure and horse modelled separately but found as one complex; mounted on a custom-made stand. £30,000 - 40,000

PROVENANCE Collection du Château de Langres, circa 1900-1910. From the private collection of the French expert Monsieur Jean François Bigot until circa 1990.

Acquired from the above by Monsieur Jean-Pierre Matiz, France. Accompanied by an original French cultural passport number 234312. Accompanied by an academic report by Dr Raffaele D'Amato and Stephen Pollington. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114446-196370.

LITERATURE Cf. Reinach, S., Repertoire de la statuarie grecque et romaine, Paris, 1930, p.17, nos.1 and 3; Boucher, S., Recherches sur les bronzes figures de Gaule pré-romaine et romaine, Rome, 1976, pp.135-137, 162, nos.229-230, for similar figures; Duval, P.M., Les Dieux de la Gaule, Paris, 2002; Green, M., Gods of the Celts, Gloucester, 1986; Moscati, S. (ed.), I Celti, Milan, 1991, p.539.

FOOTNOTES

The mythological figure Taranis was mentioned by the Roman poet Lucan in the 2nd century A.D. in his poem Pharsalia as a Gaulish deity to whom human sacrificial offerings were made, alongside two other gods named Esus and Toutatis. The name 'Taranis' is a metathetic variant of *tanaris, meaning 'thunder', and the god appears to be associated primarily with the thunderbolt and the wheel. Some inscriptions mentioning Taranis may simply be referring to 'thunder' as a natural phenomenon. Deities bearing six- or eight-spoked wheels occur elsewhere in Iron Age contexts, such as one of the inner panels of the Gundestrup cauldron where a mighty bearded figure holds a half-wheel while surrounded by stylised horses. Such wheels also appear upon Celtic helmets in Roman Art (Wilcox, 1985, p.11). A bronze figurine of the bearded god standing on a base was found at Le Chatelet, Gourzon, Haute-Marne, France where he holds aloft a thunderbolt in his right hand and rests a wheel against his left leg. This is now in the Musée d'Archéologie National, Paris. The present figure evidently owes much to classical Graeco-Roman interpretations of Jupiter as a bearded sky-god with the thunderbolt, visualised as a slender biconvex missile weapon. Just as Jupiter may have power in the afterlife, Taranis may also have had power over life and death if that is what the presence of wheel-symbols on tombstones signifies. It is likely that the figure is a product of the workshops of Gaul in the last century B.C. or first century A.D., when the worship of the old Gaulish deities was being modified by contact with the Empire.

298

CELTIC MIRROR WITH LA TÈNE DESIGN

1ST CENTURY B.C.-1ST CENTURY A.D.

9⅝ in. (210 grams, 24.5 cm).

A bronze discoid mirror comprising three parts: the handle, main mirror plate and the tubular binding edge; the obverse comprising the reflective surface, the reverse with traces of beautiful spiral motifs composed of fine zig-zag lines; thick border to the circumference to which the later openwork handle and loop are attached. £800 - 1,000

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

LITERATURE

Cf. Moscati, S., Hermann Frey, O., Kruta, V., Raftery B., Szabò, M., The Celts, New York, 1991, p.566; Joy, J., Iron decorated Age Mirrors: a biographical approach, Oxford, 2010, figs.A2, A21.

FOOTNOTES

The decorative work of these distinctive British Celtic mirrors was based on the development of the spiral and trumpet motifs of the early Celtic La Tène style. Both sides of the mirror were intimately bound; mirror decoration explicitly referred to the reflective surface of a mirror through positive and negative imagery. Mirror decoration, in this instance, acted to re-emphasise and reinforce the primary function: its ability to reflect light.

299

CELTIC HORSE HARNESS FITTING COLLECTION

1ST CENTURY B.C.-2ND CENTURY A.D.

1¾ - 3¼ in. (89 grams total, 43-82 mm).

A group of two copper-alloy horse harness trappings comprising: a harness union composed of a sub-oval openwork body with central spirals, four sub-circular lugs with arms between; a strap junction comprising two entwined openwork frames, each with one arm terminating in a cluster of pellets, pyramid clusters above and below between to the frame exterior, two mounting loops to the reverse. [2] £800 - 1,000

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

LITERATURE

Cf. Martin, C., Iron Age Artefacts in Wales, BAR British Series 353, Oxford, 2003, item 2; Jope, E.M., Early Celtic Art in the British Isles, 2 vols., Oxford, 2000, pl.285.

300

BRITISH CELTIC SWORD POMMEL WITH TWO HEADS

2ND CENTURY B.C.-1ST CENTURY A.D. 1⅝ in. (50.6 grams, 42 mm).

A bronze sword pommel formed as two addorsed male heads with lightly incised hair and facial features. [No Reserve] £300 - 400

PROVENANCE Found Suffolk, UK.

LITERATURE

Cf. Stead, I., British Iron Age Swords and Scabbards, London, 2006, item 216.

FOOTNOTES

This item is without close parallel but there are examples of anthropomorphic sword furniture from the Iron Age in Britain and on the Continent. Stylistically it resembles the sword pommel discovered at Taunton Deane (PAS reference DEV-5965A6), although it is badly worn and was not of high-quality workmanship.

301

BRITISH CELTIC BULL'S HEAD BOWL MOUNT

2ND-1ST CENTURY B.C. 2⅜ in. (69 grams total, 60 mm high including stand).

A bronze mount in the form of a bull's head, with eye and horn detailing, integral loop to the head and mounting lug through the muzzle; accompanied by a custom-made display stand. £300 - 400

PROVENANCE Found near York, UK.

302 'MUSEUM DISPLAYED' ANGLO-SCANDINAVIAN VIKING 'THE BRINTON' GOLD BRACTEATE

LATER 5TH-EARLY 6TH CENTURY A.D. 1¼ in. (2.77 grams, 31 mm).

A sheet-gold bracteate of hybrid type A / C with repoussé design depicting a large profile male head with elaborate hairstyle terminating in a bird's head placed above a quadruped with legs extended and a partial row of pellets, all enclosed within a border of stamped 'horseshoe' motifs; applied beaded wire rim; loop lost in antiquity.

£8,000 - 10,000

PROVENANCE Discovered whilst searching with a metal detector in 1996 on the vendor's farm in Brinton, North Norfolk, not too far from the subsequently discovered bracteate horde at Binham. Previously on loan to Norwich Castle Museum, on display for 15 years. Accompanied by various correspondence concerning the loan to the Museum and the Sutton Hoo exhibition from March to September 2008. Accompanied by a copy of the Norwich Heritage Explorer report number 32044. Accompanied by a copy of the 'The Bracteate Hoard from Binham - An Early Anglo-Saxon Central Place?' By Charlotte Behr and Tim Pestell with a contribution by John Hines. Accompanied by a copy of the museum drawing and subsequent professional drawing by Julia Garrett. Accompanied by a specialist report by Anglo-Saxon and Viking specialist Stephen Pollington.

The only bracteate from Norfolk that Norwich Castle Museum does not own. This lot has been

against the Interpol Database of stolen works of art

accompanied by AIAD certificate no. 114447-194311

LITERATURE

Axboe, M., Die Goldbrakteaten der Völkerwanderungszeit —

und Chronologie, RGA 2004; Behr, C., New Bracteate Finds From Early Anglo-Saxon England, In Medieval Archaeology, Vol. LIV, 2010, for discussion of

find.

PUBLISHED Behr, C., New Bracteate Finds From Early Anglo-Saxon England, in Medieval Archaeology, Vol. LIV, 2010.

hammer

303

SAXON GARNET-INLAID 'FACE' BUCKLE ELEMENT

6TH-7TH CENTURY A.D. ⅞ in. (2.84 grams, 23 mm).

A portion of a gold buckle or fitting with garnet cloisonné 'face' to the obverse, bands of granulation above and below; comprising a triangular panel with two garnet disc 'eyes' above a greenish (perhaps serpentine) filling to the upper cell, and a row of four garnets below; the effect represents either a face, or the other way up, two serpents settled with their addorsed heads resting on the baseline; two mounting loops to the reverse.

£400 - 600

PROVENANCE

Acquired 1970-2010. Collection of a late Japanese gentleman.

LITERATURE

See Hammond, B., British Artefacts vol.1 - Early Anglo-Saxon, Witham, 2009.

FOOTNOTES

The design replicates in cloisonné technique the dense artwork found for example on saucer brooches and sword pommels where serpents and quadrupeds are crowded into small spaces in the design. See for example Hammond (2009), item 1.1.6.6-h, a pair of saucer brooches with panels of animals and birds.

304

ANGLO-SAXON GILT HORSE HARNESS MOUNT WITH BIRD HEADS

6TH-7TH CENTURY A.D. 1 in. (4.21 grams, 26 mm).

A gilt horse harness mount or appliqué of crescentic form, bearing style II interlaced zoomorphic decoration, possibly in the form of bird heads or a central bird head and claws; two circular perforations for attachment. £400 - 600

PROVENANCE

Found while searching with a metal detector in Litchfield and Woodcott parish, Hampshire, UK.

Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) record number BERK-4B78A4.

LITERATURE

See MacGregor, A. and Bolick, E., A Summary Catalogue of the Anglo-Saxon Collections (non-ferrous metals), Ashmolean Museum, Oxford, Oxford, 1993, p.241, for similar examples found in Faversham, Kent, from a late 6th-7th century context.

305 ANGLO-SCANDINAVIAN VIKING GILT BORRE STYLE DISC BROOCH

10TH-11TH CENTURY A.D.

1 in. (6.68 grams, 27 mm).

A gilt-bronze domed disc brooch with low-relief Borre Style interlace panel; tinned flat back and the remains of the pin-hinge and catchplate to the reverse. [No Reserve] £500 - 700

PROVENANCE Found East Anglia. Property of an Ipswich, UK, collector.

LITERATURE

Cf. West, S., A Corpus of Anglo-Saxon Finds From Suffolk, East Anglian Archaeology 84, Ipswich, 1998, fig.134, item 8; Arbman, H., Birka I: Die Gräber, Uppsala, 1940, pl.70 (2,4).

306

ANGLO-SAXON GILT S-SHAPED BROOCH

6TH CENTURY A.D. 1 in. (4.25 grams, 26 mm).

A gilt-bronze S-shaped plate brooch, the recurved necks formed as four-strand bands, central rectangle with meander pattern, each head with a discoid eye and open mouth laid along the central panel; to the reverse catch and pin with spring in situ.

£200 - 300

PROVENANCE Found Cambridgeshire, UK.

LITERATURE Cf. Beck, H. et al., Fibel und Fibeltracht, Berlin, 2000, fig.156 (7,8).

307

LATE ANGLO-SAXON GILT CLOISONNE BROOCH WITH STARBURST

11TH CENTURY A.D. 1 in. (6.3 grams, 25 mm).

A gilt bronze disc brooch with seven radiating knops to the rim; pinlug and clasp to the reverse; each lug with inset blue enamel; main body divided into a central starburst with seven D-shaped cells, all filled with blue enamel, white enamel spot to the central field.

£250 - 350

PROVENANCE Found Ivychurch, Folkestone and Hythe, Kent, UK. Accompanied by a copy of the British Museum's Portable Antiquities Scheme report no.KENT-714191.

LITERATURE Cf. Hattatt, R., Ancient Brooches and Other Artefacts, Oxford, 1989, item 1314.

308

HIBERNO-NORSE VIKING LEAD GAMING PIECE WITH TREFOIL OF GREAT BEASTS

9TH-10TH CENTURY A.D.

1 in. (43.8 grams, 26 mm).

A gaming piece or trade weight formed as a lead disc with inset bronze appliqué, possibly from a terret or chariot fitting; the raised rim enclosing a sunken field with series of three gilded 'great beast' motifs each with a tiny La Tène spiral on the rump, the forelegs scooped and rear legs extended, the head a curved 'beak'; the design completed by a further spiral at the centre.

£400 - 600

PROVENANCE

Found while searching with a metal detector in Cambridgeshire, UK.

LITERATURE

Cf. Hammond, B., British Artefacts vol.2 - Middle Saxon & Viking, Witham, 2010, item 1.14-j, for type.

309

VIKING STRAP END WITH BEAST FACING BACK

9TH-10TH CENTURY A.D.

2 in. (16 grams, 52 mm).

A bronze tongue-shaped strap end with pelletted border enclosing an openwork mesh of tendrils and advancing beast with head reversed; flat attachment panel with ferrous remains of two rivets.

£400 - 600

PROVENANCE

Found whilst searching with a metal detector on 10th February 2019 in Brigstock, East Northamptonshire, UK, by Scott Marshman. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.BH-56D411.

310

ANGLO-SAXON STRAP END WITH RIVETTED SILVER PLATE WITH BEAST FACING BACK

9TH CENTURY A.D. 1 1/5 in. (5.59 grams, 37 mm).

A bronze strap end of Thomas's Class A, rectangular with convex sides and slit at one end to accept the leather or fabric of the belt or strap; applied sheet silver panel attached with four silver rivets,

bearing a Trewhiddle Style regardant beast with its tail looped over its rump; remains of an animal-mask finial beside the panel; reverse marked with the PAS reference KENT-112CEC. £600 - 800

PROVENANCE

Found while searching with a metal detector near Romney, Folkestone and Hythe, Kent, UK, in 2018. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.KENT-112CEC.

Disclaimed under treasure reference no.2018T664.

311

ANGLO-SAXON CROSS INLAY PATRIX WITH INTERLACE

8TH CENTURY A.D. 2¼ in. (3 in.) (25.7 grams, 57 mm (62 grams total, 75 mm high including stand)).

A bronze ornamental panel, approximately tongue-shaped with incised bands forming cells to accept enamel detailing; the design with two large lobes to the narrow end, interlaced panels of two-, three- or four-band strands, slightly curved forward edge; possibly a patrix from which gold-foil appliqués could be formed; accompanied by a custom-made display stand. £700 - 900

PROVENANCE Found Cambridgeshire, UK.

LITERATURE Cf. Youngs, S. (ed.), The Work of Angels. Masterpieces of Celtic Metalwork, 6th-9th centuries AD, London, 1989, item 117.

312

ANGLO-SAXON 'THAMES' CRESCENT HANGING OIL LAMP

10TH-11TH CENTURY A.D. 1¾ in. (41 grams, 46 mm wide).

A ceramic oil lamp fragment comprising a shallow bowl with facetted outer face and a supporting spigot beneath; dark grey fabric with micaceous inclusions. [No Reserve] £200 - 300

PROVENANCE Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

10TH-11TH

A

PROVENANCE

collection formed in Europe in the 1980s.

collection, central London, UK.

by a metal analysis report by Ivor Goro, dated 29 March 2022.

has been checked against the Interpol Database of stolen works of

accompanied by AIAD certificate no.11069-183094.

LITERATURE

Magnus, B.

and Man

Art, Vol.2, Koln,

77, 106, 239 (chain), Kongl. Vitterhets Historie och Antiqvitets

Månadsblad, 1895 (pendant).

314

VIKING SILVER ODIN PENDANT 9TH-12TH CENTURY A.D.

1¼ in. (5.12 grams, 31 mm).

A silver pendant formed as the face of Odin with beard and horns; integral ribbed suspension loop. £1,500 - 2,000

PROVENANCE

Acquired from Europe. Property of an American private collector. Acquired at the Las Vegas Gun Show in 2019. Property of a Northern European collector.

315

VIKING OPENWORK BEAST PENDANT 9TH-11TH CENTURY A.D.

1¾ in. (21.06 grams, 46 mm).

A silver pendant of discoid form bearing an openwork design composed of entwined beasts; integral suspension loop. £1,800 - 2,400

PROVENANCE

Acquired from Europe. Property of an American private collector. Acquired at the Las Vegas Gun Show in 2019. Property of a Northern European collector.

316

VIKING JELLINGE GRIPPING ODIN PENDANT ‡ 10TH CENTURY A.D.

1½ in. (11 grams, 34 mm).

A silver pendant showing a male figure, probably Odin, with body composed of an interlaced strip with hands gripping the edge of the frame; suspension loop in the form of a bearded male face. £500 - 700

PROVENANCE

Acquired before 1990.

Ex North American professional collector. Property of a French private collector. Accompanied by an X-ray fluorescent analysis test certificate dated 15 June 2016.

LITERATURE

Cf. Arwidsson, G., Birka II: 3 Systematische Analysen der Gräberfunde, Uppsala, 1986, p.27, fig.3:23 (Tuna, Alsike Ksp. Up. Typ Tuna).

FOOTNOTES

In Norse mythology, from which stems most of our information about the god Odin, is associated with healing, death, royalty, the gallows, knowledge, battle, sorcery, poetry, frenzy, and the runic alphabet, and is the husband of the goddess Frigg. In Old Norse texts, Odin is depicted as one-eyed and longbearded, frequently wielding a spear named Gungnir, and wearing a cloak and a broad hat. He is often accompanied by his animal companions - the wolves Geri and Freki and the ravens Huginn and Muninn, who bring him information from all over Midgard - and Odin rides the flying, eight-legged steed Sleipnir across the sky and into the underworld. Odin is attested as having many sons, most famously the gods Baldr and Thor, and is known by hundreds of names. In these texts, Odin frequently seeks knowledge in some manner and in disguise (most famously by obtaining the Mead of Poetry), at times makes wagers with his wife Frigg over the outcome of exploits, and takes part in both the creation of the world by way of slaying the primordial being Ymir and the gift of life to the first two humans Ask and Embla. Odin has a particular association with Yule, and mankind's knowledge of both the runes and poetry is also attributed to Odin. This pendant would appear to represent Odin sacrificing himself on the world tree, Yggdrasill, in his pursuit for knowledge and the sacred runes. Odin hung himself from a branch of the world tree that hung over the well of Urd, pierced himself with his spear and looked into the sacred waters. He hung for nine days and nights poised between life and death and on the last day the runes revealed themselves to him and he gained the sacred and secret knowledge that elevated him to an even higher state in the world of the gods. The Jellinge style of art takes its name from the tenth century, Danish, royal cemetery at Jelling in Jutland, and is noted for the ribbon like animals that decorate a silver cup and a memorial stone from the site.

315

317

VIKING AGE SILVER DECORATED PENANNULAR BROOCH

9TH-11TH CENTURY A.D.

2 in. (13.1 grams, 51 mm).

A flat-section silver penannular brooch with bulbous terminals and free-running tongue, the upper face decorated with engraved zigzags arranged into larger chevrons. [No Reserve] £300 - 400

PROVENANCE

Acquired in London in 1982. Property of a central London gentleman.

318

VIKING AGE GILT HORSE HARNESS PENDANT WITH WARRIOR AND HORSES

10TH-12TH CENTURY A.D.

4⅜ x 2 in. (55 grams total, 11 x 5 cm).

A gilt-bronze pendant formed as a beaded circular frame enclosing a facing warrior (or deity) wearing a conical helmet, broad belt and tightfitting trousers, with both hands raised holding the reins of two horses depicted as the addorsed foreparts with ribbed halters and bridles; suspension stud above with looped rosette motif; attached to a ferrous mount fragment below; mounted on a custom-made perspex stand. £400 - 600

PROVENANCE

Ex French collection. Acquired 2018 from a Paris gallery.

LITERATURE

Cf. Sedov, B.B., Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, table LVI, for type.

319

VIKING AGE HACK SILVER GROUP

9TH-12TH CENTURY A.D.

1⅞ - 3½ in. (344 grams total, 47-90 mm).

A group of five large hack silver pieces in bar form, semi-circular, facetted and circular cross-sections. [5, No Reserve] £400 - 600

PROVENANCE Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

320

MEDIEVAL ILLUMINATED BOOK OF HOURS MANUSCRIPT PAGE ON VELLUM

ROUEN, CIRCA 1470 A.D. 12¼ x 9⅝ in. (848 grams, 31 x 24.8 cm).

A finely detailed vellum leaf from a Rouen Book of Hours, comprising a three-quarter page arch-topped miniature composed of a complex Gothic archway, enclosing the Annunciation scene with the Virgin kneeling before her prie-dieu in a richly decorated Gothic interior, gazing at an open book, the Angel before her holding a sceptre, the Holy Spirit in the form of a small white dove descending from the highest corner of the room where God appears; full tessellated border with acanthus leaves, foliage and fruit on dull-gold or white backgrounds, two hairy wild men to the field, one holding a sword and the other a mirror, one four-line white initial; verso with fifteen lines with four one-line initials on burnished gold grounds with line-fillers in same, and two two-line initials containing shoulder-length portraits of two men; mounted in a glazed framed with a glazed window to the reverse showing the verso.

£800 - 1,000

PROVENANCE UK art market.

with Sotheby's, 3 December 2008, lot 12(a). Private collection of the late David Miller, a prominent Hertfordshire collector and numismatist.

321 MEDIEVAL ILLUMINATED BOOK OF HOURS MANUSCRIPT PAGE ON VELLUM BY A FOLLOWER OF THE MASTER OF ADÉLAÏDE OF SAVOY

FRANCE, CIRCA 1460 A.D. 12⅝ x 10½ in. (762 grams, 32 x 26.5 cm).

A vellum leaf from a Book of Hours by a follower of the Master of Adélaïde of Savoy, comprising two scenes depicting the Massacre of the Innocents; above a three-quarter page miniature within two marble pillars and a crocketed Gothic canopy, with three soldiers in elaborate gold and silver armour, wielding swords as the mothers attempt to shield their children, all before enthroned Herod holding a sceptre, a member of his court dressed as a medieval ecclesiastic standing next to him; the lower quarter with two soldiers attacking two women and a baby before a grassy landscape; a three line white initial on dull-gold ground enclosing a swan, sixteen lines on verso and a tessellated border panel with flowers and fruit; mounted in a glazed frame.

£800 - 1,000

PROVENANCE UK art market. with Sotheby's, 3 December 2008, lot 12(b). Private collection of the late David Miller, a prominent Hertfordshire collector and numismatist.

LITERATURE

Cf. König, E., Französische Buchmalerei, 1982, fig. 22, for a similar miniature in the Hours of Adélaïde of Savoy at the Musée Condé, Chantilly, 76, fol. 68v; see Avril, F., Reynaud, N., Les Manuscrits à Peintures en France, 1993, pp.123126, for the artist.

¾ in. (3.16 grams, 21.56 mm overall, 18.41 mm internal diameter (approximate size British P, USA 7½, Europe 16.23, Japan 15)).

A gold posy ring composed of a D-section band, the external face decorated with spiralling double-beaded rose gold bands alternating with recessed pale gold bands; the interior bearing an Anglo-French inscription in Lombardic script: '+DE LVI:PENSEZ.PAR.KI SVI:SI:' for 'Think of Him by whom I am here', with traces of black niello inlay. £5,000 - 7,000

PROVENANCE

Found whilst searching with a metal detector on Monday 19th April 2021 on land belonging to Breamore House, Breamore, New Forest, Hampshire, UK. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report number HAMP-14F3E5.

Accompanied by a copy of the Treasure Report number 2021 T260 for H M Coroner, and a copy of the letter from the British Museum disclaiming the Crown's interest in the find.

Accompanied by a typed detailed account from the finder explaining the circumstances of discovery.

Accompanied by a copy of a reference page from the Victoria & Albert Museum where it states: 'until around 1350 the style of lettering took the form of the rounded capitals, known as Lombardic script, and from that date until after 1500 lettering was in the spiky script known as Gothic'.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114448-193623.

See British Museum Portable Antiquities Scheme (PAS), reference no. HAMP14F3E5 and Treasure Act, reference 2021 T260 (this ring).

FOOTNOTES

Late medieval posy rings were gifted by men and women as expressions of love, as wedding rings, and as a show of friendship, the interior inscription hidden to everyone besides the giver and wearer. The posy engraved on the interior of the hoop here is intended to evoke fond thoughts of the giver when gazed upon by the wearer, often with an inscription in French, the language of courtly love, and spoken widely by the elite in medieval Europe. The accompanying PAS report states: 'The inscription has been confirmed and translated by Dr Malcolm Jones, formerly of Sheffield University. He comments this is a 'relatively common Anglo-French amatory inscription. The spelling with initial K is a characteristically English as opposed to (Continental) French spelling. Dr Jones notes this phrase is usually written as a rhyming couplet...Posy rings are typically a plain gold so the use of two golds in this decorative form is of note. A similar form of spiral bands of plain and beaded decoration is found on a ring from the Fishpool Hoard, Nottinghamshire, now in the British Museum collection and dated to 1400-1464...However, the Fishpool example is plain gold and formed from single decorative strands rather than the double beading found on this Hampshire example. The two incised lines on the exterior (of the ring on sale) may represent a casting error rather than damage, as they overlie a small incomplete area in the beaded band.'

322 'THE BREAMORE HOUSE' MEDIEVAL BI-GOLD 'THINK OF HIM BY WHOM I AM HERE' POSY RING 14TH-15TH CENTURY A.D.

LITERATURE Cf. The British Museum, museum number 1967,1208.1, for the comparable Fishpool ring dated 1400-1464 A.D.; cf. The V&A Museum, accession number 889-1871 and M.184-1975, for two different styles of medieval ring dated 12001300, also bearing this and similar inscriptions.

PUBLISHED

13TH-14TH CENTURY A.D. ¾ in. (2.97 grams, 20 mm high).

A gold seal matrix pendant of oval form with box-style setting and suspension loop to reverse; bearing '+ SIGNVM AMORIS:SA:I' Latin legend in Lombardic capitals within a beaded border; set with a mottled white-black chalcedony intaglio engraved with a naturalistically modelled eagle facing left, wings spread. £8,000 - 10,000

PROVENANCE

Found whilst searching with a metal detector in Boxted, Essex, on Saturday 29th September 2018 by Trish Ostrowski.

Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report number WREX-ADFAB9, where it is recorded 'disclaimed as Treasure'.

Accompanied by a copy of letter from Wrexham museum services (PAS) to Essex Coroner Services discussing the find.

Accompanied by a copy of an official provisional treasure valuation dated 11 June 2021 for £8,000.00.

Accompanied by a copy of the Treasure Hunting Magazine article where it was published in 2019.

Accompanied by scholarly note TL05451 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 114449-195218.

FOOTNOTES

The intaglio and matrix appear contemporaneous in date, the eagle possibly alludes to Saint John the Evangelist. The British Museum's Portable Antiquities Scheme record states (re. the matrix legend): 'Malcolm Jones suggests that SA might be a contraction of the word SANCTI. This would therefore translate to 'A token/sign of sacred/holy love'. However, John Cherry notes that the semi colon in the inscription between the SA and the I (SA : I) is significant, particularly if the attribution of the eagle to St John is correct, and could be a contraction of Iohanni...'. The use of mottled chalcedony for the intaglio is very unusual (if not unique at this period) and strongly suggests that the commissioner of the piece wanted the central design to remain secret. Also unusual is the form of the stone set in a pendant rather than in a finger ring or as a 'chessman' type stamp seal.

323 ENGLISH MEDIEVAL 'THE BOXTED' GOLD 'A SIGN OF SACRED LOVE' SEAL MATRIX

LITERATURE Cf. Egan, G. & Pritchard, F., Dress Accessories 1150-1450, London, 2002, plate 7(a), for type and plate 6(c), for script.

PUBLISHED Portable Antiquities Scheme (PAS) report WREX-ADFAB9; Treasure Hunting Magazine, March 2019, p.71-73.

325

324

MEDIEVAL 'THE NAVESTOCK' GILT HERALDIC LION CHESS PIECE 12TH-13TH CENTURY A.D. 2 in. (56.9 grams, 49 mm wide).

A gilt-bronze figurine of a heraldic lion standing four-square on a rectangular base, in the heraldic 'statant' pose; the head raised and mouth open, mane represented by radiating curved scales on the neck and back with nicked edges, long recurved tail with characteristic feathered finial. £2,000 - 3,000

PROVENANCE

Found whilst searching with a metal detector near Navestock, Essex, UK, in 2010.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 114450-195656.

LITERATURE See Toman, R. Romanesque Architecture, Sculpture, Painting, Cologne, 1997; Jacobs, A.L., The Heraldic Casket Of Saint Louis in the Louvre, Ph.D. thesis submitted to University of Wisconsin-Milwaukee, 2014.

FOOTNOTES

Stephen Pollington writes: 'The purpose of the piece must remain the object of speculation but one context suggests itself immediately: the 12th century set of character figures carved in ivory, discovered on the Isle of Lewis in Scotland. Stylistically, the Romanesque lion must be dated a little later than these figures since it displays classic 'heraldic' features associated with the medieval period, but the quality of the gilding and the nature of the bronze are suggestive of the Anglo-Scandinavian style of workmanship. As a gaming piece, it would be tempting to regard the roaring lion as a natural emblem of aggressive kingship. An alternative suggested use is that of a casket fitting. Caskets and coffers with heraldic decaoration are a known feature of wealthy medieval households, such as that of St. Louis now in the Louvre, Paris ('a small coffer, decorated with enamel medallions and heraldic shields, includes the arms of Louis IX of France

and his mother Blanche of Castile among twenty-one members of the French nobility from the early thirteenth century' in the words of Audrey L. Jacobs) or the 'Minnekastchen' in Nurnberg's Germanisches Nationalmuseum (inventory HG 216). Such caskets were richly furnished with decorative detailing. A possible parallel was found at Knocking in Shropshire in 2019 and recorded with the PAS (reference WREX-ADF3E6); this lion is also modelled in the round, and its pose is 'statant gardant' with a similar (though less well-defined) doublecurved tail. The integrally modelled tail is perhaps delicate for a gaming piece or casket mount and would have been easily damaged in use. Therefore, the piece might be an item of heraldic tomb furniture, perhaps similar to the carved and gilded wooden lion figurine which decorated the cap attached to the helm of the Black Prince in Canterbury cathedral.

325 MEDIEVAL GILT LIMOGES SAINT FIGURE PAIR

EARLY 13TH CENTURY A.D.

2⅝ x 3 in. (40.9 grams, 68 x 76 mm).

A pair of Limoges mounts each with a flat tongue-shaped body and a head modelled in the round; one with two attachment holes to the body, lightly engraved detail of vestments and a book clasped in the right hand; the other similar but holding the book in the left hand at waist height and raising the right hand in the act of benison, fixing studs to the reverse; mounted on a velvet-covered stand. [2, No Reserve] £3,000 - 4,000

PROVENANCE

Altounian-Rousset (1890-1954) collection, Macon, France. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 114451-196253.

LITERATURE

Cf. a similar mount in the British Museum, London, under museum number 1854,1212.3.

326

326

MEDIEVAL LIMOGES ST JOHN THE EVANGELIST CLOISONNE ENAMEL ROUNDEL

12TH CENTURY A.D.

2 in. (6½ x 4⅞ in.) (33.1 grams, 51 mm (242 grams total, 16.5 x 12.5 cm including case)).

A gilt-bronze Limoges roundel plaque with cloisonné enamel bust of St John the Evangelist facing, nimbate wearing a deep blue mantle over a turquoise tunic with light-blue neck-closure decorated with white roundels; the nimbus in yellow with white detailing; later pierced at the nimbus for attachment. [No Reserve]

£3,000 - 4,000

PROVENANCE

Private collection, Belgium until 2009.

Private collection, UK.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114452-196239.

LITERATURE Cf. Stratford, N., Catalogue of Medieval Enamels in the British Museum. Vol. 2 Northern Romanesque Enamel, London, 1993, items 11, 12.

FOOTNOTES

Two 12th century gilt roundels with facing busts (the virtues Fides (faith) and Religion (religion) of similar workmanship are in the British Museum.

327 MEDIEVAL KNIGHT'S GILT 'AUDLEY FAMILY' HERALDIC HORSE HARNESS BANNERET WITH UNICORNS

CIRCA 1250-1400 A.D. 2 in. (36.6 grams, 50 mm).

A gilt copper-alloy enamelled heraldic horse harness ornament of vertical banner type, composed of a rectangular, flag-like body, tapering cylindrical mounting spindle to one edge; both faces bearing a stylised heraldic device comprising a white enamelled unicorn rampant on a blue enamelled field, both unicorns facing the axial shaft, each carrying a banner, with remains of gilding to one side, suggesting that the banner was originally a gold interwoven lattice on a red background (gules a fret (vel fretty) or), in turn pointing towards an attribution to the arms of the Audley family. £800 - 1,000

PROVENANCE

Found whilst searching with a metal detector in Preston Candover, Hampshire, UK, on 7th October 2020, by Cai Hailey.

Accompanied by a copy of an article published in Treasure Hunting Magazine, March 2021.

Accompanied by a copy of the Portable Antiquities Scheme report, HAMP05D80B.

LITERATURE

Cf. ‘Two Heraldic Unicorns’ in Treasure Hunting, March 2021, p.21, for this item; cf. The British Museum's Portable Antiquities Scheme, record id. HAMP05D80B, for this item.

FOOTNOTES

The PAS report states that 'The depiction of a unicorn in an heraldic context is unusual for this period.'

LARGE MEDIEVAL KNIGHT'S GILT ROYAL HERALDIC HORSE HARNESS MOUNT WITH ARMS OF ENGLAND

14TH CENTURY A.D.

2¼ in. (16.2 grams, 57 mm).

A bronze escutcheon with flared border and attachment hole at each angle; central reserved heater shield with red field and three lions passant gardant, the arms of the kings of England (1198–1340 and then 1360–1369 A.D.)

£300 - 400

PROVENANCE

Found Romney Marsh, Kent, UK.

LITERATURE

Cf. Ashley, S., Medieval Armorial Horse Furniture in Norfolk, East Anglian Archaeology 101, Dereham, 2002, item 111, for a harness pendant bearing the same arms.

329

LARGE MEDIEVAL KNIGHT'S HERALDIC 'D'UFFORD FAMILY, EARL OF SUFFOLK' HORSE HARNESS MOUNT

CIRCA 14TH CENTURY A.D.

2⅝ in. (27.6 grams, 68 mm).

A large bronze heraldic plaque, lozengiform with raised border and an attachment hole to each angle, reserved arms of a cross engrailled with a label above; possibly the arms of Robert d’Ufford (Earl of Suffolk) blazoned 'Sable a cross indented or' in the Dering Roll. £200 - 300

PROVENANCE

Found while searching with a metal detector in Lydd, Shepway, Kent, UK, in 2016.

Accompanied by a copy of Portable Antiquities Scheme report reference no.KENT-82309F

PUBLISHED

Recorded with the Portable Antiquities Scheme under reference KENT-82309F.

FOOTNOTES

The label marks the arms as belonging to the eldest son of the family during his father's lifetime.

330

MEDIEVAL KNIGHT'S GILT ENAMELLED 'WYVILLE FAMILY' HERALDIC HARNESS PENDANT

13TH-14TH CENTURY A.D.

1½ in. (8.79 grams, 37 mm).

A lozenge-shaped horse harness pendant with suspension loop, depicting arms 'gules a cross or fretty cantonned by four mullets of six points or' being a gold cross on a red field with a gold mullet in each quarter; possibly for the Wyville family.

£200 - 300

PROVENANCE

Found near Wimborne, Dorset, UK, 2011. Property of a Dorset gentleman.

Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report with reference number: PUBLIC-92055F. Accompanied by a copy of the UK Detector Finds Database entry with reference number: 33943.

LITERATURE

See Woodcock, T., Dictionary of British Arms 3, Society of Antiquaries, 2009, p.197; see Archaeological Journal XIV, pp.32-33, for seals on a charter of Salisbury.

PUBLISHED

British Museum's Portable Antiquities Scheme (PAS) with reference number PUBLIC-92055F; and UK Detector Finds Database with reference number 33943.

FOOTNOTES

Robert Wyville was Bishop of Salisbury, 1330-1375 A.D.; his memorial brass is in Salisbury Cathedral.

331 MEDIEVAL KNIGHT'S HERALDIC 'WAYLAND FAMILY' HORSE HARNESS PENDANT

13TH-14TH CENTURY A.D. 1⅝ in. (10.5 grams, 41 mm).

A bronze heater-shaped heraldic horse harness pendant with integral suspension loop; the enamelled surface somewhat disrupted but with the red diagonal stripe (bend gules) clearly visible over a blue field with indeterminate beast (probably a lion rampant); possibly the arms

of John of Wayland which appear in the Stirling Roll blazoned as 'Azure a lion rampant argent overall a bend gules'. £200 - 300

PROVENANCE Found Cambridgeshire, UK.

LITERATURE

Cf. Ashley, S., Medieval Armorial Horse Furniture in Norfolk, East Anglian Archaeology 101, Dereham, 2002, item 72.

FOOTNOTES

The Stirling Roll of Arms (College of Arms, London, MS M.14, ff. 269-72.) dates to 1304 A.D. and gives the arms of more than a hundred prominent nobles in Norman French.

332

MEDIEVAL KNIGHT'S QUATREFOIL HERALDIC 'BREWS FAMILY' HORSE HARNESS PENDANT WITH LION

14TH-15TH CENTURY A.D. 1¾ in. (13.6 grams, 43 mm high).

A bronze horse harness pendant of four lobes with interstitial spurs and a pierced lug above; reserved design of a central square with lion passant and a group of three flowers in each lobe; possibly the arms of Thomas de Brews. £120 - 170

PROVENANCE Found Romney Marsh, Kent, UK.

LITERATURE

Cf. Ashley, S., Medieval Armorial Horse Furniture in Norfolk, East Anglian Archaeology 101, Dereham, 2002, item 205, attributed there to Thomas de Brews or to the Neville family.

333

MEDIEVAL KNIGHT'S GILT HERALDIC 'PERCY FAMILY' HORSE HARNESS PENDANT

13TH CENTURY A.D.

1¾ in. (7.2 grams, 45 mm).

A gilt bronze heater-shaped harness pendant with blue enamelled lion rampant motif, pierced suspension lug; the arms are associated with the Percy family 'or a lion rampant azure'. [No Reserve] £300 - 400

PROVENANCE

Found while searching with a metal detector in Paull Parish, East Riding of Yorkshire, UK. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report number YORYM-CF8701.

334

MEDIEVAL KNIGHT'S HERALDIC 'MARMION FAMILY' HORSE HARNESS PENDANT

14TH CENTURY A.D. 1⅝ in. (9.85 grams, 41 mm).

A bronze harness pendant comprising a heater shield and pierced suspension lug; the shield with moulded arms of a field in vair with a reserved fess, possibly the arms of Willem Marmion blazoned 'Vair a fess gules' in the Dering Roll. £150 - 200

PROVENANCE

Found Romney Marsh, Kent, UK.

LITERATURE Cf. Ashley, S., Medieval Armorial Horse Furniture in Norfolk, East Anglian Archaeology 101, Dereham, 2002, item 98, for type.

335

MEDIEVAL KNIGHT'S HERALDIC 'TILMANSTONE FAMILY' HORSE HARNESS PENDANT

14TH-15TH CENTURY A.D. 1½ in. (11.4 grams, 40 mm).

A bronze heater-shield horse harness pendant with pierced suspension lug above; high-relief reserved arms of six lions rampant on a red enamelled field, possibly the arms of the de Tilmanstone family blazoned 'Gules six lions rampant double queued argent' in the Dering Roll. £150 - 200

PROVENANCE

Found Romney Marsh, Kent, UK.

LITERATURE Cf. Ashley, S., Medieval Armorial Horse Furniture in Norfolk, East Anglian Archaeology 101, Dereham, 2002, item 79, for type.

336

MEDIEVAL KNIGHT'S GILT HERALDIC HORSE HARNESS PENDANT WITH THISTLE MOTIF AND FRAMED HANGER

14TH-15TH CENTURY A.D.

1⅝ in. (13.2 grams, 42 mm).

A parcel-gilt bronze harness pendant comprising a hanger of five lobes with red and blue enamelled field and reserved thistle motif, pierced at the lower lobe, set within a frame of arches with interstitial spurs and a pierced lug above.

£150 - 200

PROVENANCE

Found Romney Marsh, Kent, UK.

LITERATURE

Cf. Ashley, S., Medieval Armorial Horse Furniture in Norfolk, East Anglian Archaeology 101, Dereham, 2002, item 231, for arms.

337

MEDIEVAL KNIGHT'S GILT HERALDIC 'FITZALLEN FAMILY' HORSE HARNESS PENDANT

13TH-15TH CENTURY A.D.

1 in. (2.19 grams, 23 mm).

A gilt-bronze heater-shaped harness pendant with high-relief lion rampant; possibly the arms of Jon le FizAleyn blazoned 'Gules a lion rampant or' in the Dering Roll.

£150 - 200

PROVENANCE

Found Romney Marsh, Kent, UK.

LITERATURE

Cf. Ashley, S., Medieval Armorial Horse Furniture in Norfolk, East Anglian Archaeology 101, Dereham, 2002, item 110.

338 MEDIEVAL GOLD RING WITH RUBIES, EMERALDS AND SAPPHIRE 13TH CENTURY A.D. ⅞ in. (1.93 grams, 22.51 mm overall, 18.14 mm internal diameter (approximate size British O½, USA 7¼, Europe 15.61, Japan 15)).

A gold finger ring with slender gold hoop, rectangular bezel with scooped cell set with a sapphire, satellite settings with two rubies and two emeralds. £6,000 - 8,000

PROVENANCE Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 114453-195532 .

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 567, for type.

339 'THE IVYCHURCH' MEDIEVAL GOLD BISHOP'S STIRRUP RING WITH GARNET 13TH-14TH CENTURY A.D. 1 in. (2.05 grams, 25.28 mm overall, 19.63 mm internal diameter (approximate size British R½, USA 8¾, Europe 19.38, Japan 18)).

A gold finger ring with slender hoop and pie-dish bezel, inset garnet cabochon replacing the original. £1,200 - 1,700

PROVENANCE

Found while searching with a metal detector in Ivychurch, Folkestone and Hythe, Kent, UK, in 2016. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.KENT-9F4EA9. Accompanied by a copy letters from the Coroner and the British Museum confirming that the Crown's interest in the ring under treasure reference no.2016T863 has been disclaimed.

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 562.

340 MEDIEVAL GOLD DECORATED RING WITH GARNET 13TH CENTURY A.D. 1 in. (4.87 grams, 26.98 mm overall, 19.55 mm internal diameter (approximate size British S, USA 9, Europe 20, Japan 16)).

A gold finger ring with pie-dish bezel, beaded rim and inset garnet cabochon. £4,500 - 6,500

PROVENANCE Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 114454-195530.

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 560, for type.

341 MEDIEVAL GOLD RING WITH SAPPHIRE 13TH-14TH CENTURY A.D. ⅞ in. (3.11 grams, 22.43 mm overall, 17.79 mm internal diameter (approximate size British O½, USA 7¼, Europe 15.61, Japan 15)).

A gold finger ring with chamfered edges to the hoop, square bezel with scooped edges to the cell enclosing a sapphire cabochon. £2,500 - 3,500

PROVENANCE Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 114455-195527.

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 560, for type.

342 MEDIEVAL GOLD DECORATED RING WITH GARNET 13TH CENTURY A.D. ⅞ in. (4.32 grams, 23.22 mm overall, 18.35 mm internal diameter (approximate size British N, USA 6½, Europe 13.72, Japan 13)).

A slender gold finger ring with ellipsoid pie-dish bezel, claw setting for a cabochon garnet. £2,500 - 3,500

PROVENANCE Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 114456-195528.

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 562, for type.

343 MEDIEVAL GOLD DECORATED BISHOP'S STIRRUP RING WITH EMERALD 13TH CENTURY A.D. ¾ in. (1.15 grams, 20.91 mm overall, 17.16 mm internal diameter (approximate size British N, USA 6½, Europe 13.72, Japan 13)).

A gold stirrup ring with D-section hoop, granulated clusters to the shoulders and conical bezel set with a polished emerald cabochon. £2,000 - 3,000

PROVENANCE Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114457-195531.

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 565.

344 MEDIEVAL 'THAMES' GOLD RING WITH FACETTED RUBY CIRCA 1450 A.D. ⅞ in. (0.42 grams, 22.64 mm overall, 19.27 mm internal diameter (approximate size British S, USA 9, Europe 20, Japan 19)).

A gold ring composed of a slender round-section hoop and oval bezel set with a facetted ruby. [No Reserve] £500 - 700

PROVENANCE Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK. Displayed in the Museum of London circa 1984 as they stated it was an unusual 15th century ring for that period having a facetted stone.

345 'THE WEST MEON' MEDIEVAL GOLD PENTAGON RING 13TH CENTURY

346

MEDIEVAL 'THAMES' ST. THOMAS BECKET PILGRIM'S BADGE

14TH CENTURY A.D.

1⅜ in. (6.8 grams, 34 mm).

A lead-alloy discoid pilgrim's badge with recessed rim, openwork facing bust of St. Thomas Becket with arcade, low-relief legend to the border '+ ETELLA . THOME' (St. Thomas's Star); lugs to the reverse. [No Reserve] £600 - 800

PROVENANCE

Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

LITERATURE

Cf. Spencer, B., Pilgrim Souvenirs and Secular Badges, Woodbridge, 2010, item 102a, and item 90 (legend).

347 MEDIEVAL 'THAMES' ST. THOMAS BECKET'S BELL PILGRIM'S SOUVENIR

15TH CENTURY A.D.

1⅜ in. (16.5 grams, 36 mm).

A lead-alloy model bell with integral suspension loop, band of pellets to the upper edge and raised text above the rim: 'CAMPA THOM [*] ' i.e. Campa[na] Thom[asi] for Thomas's Bell. [No Reserve] £300 - 400

PROVENANCE

Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

348 PUBLISHED MEDIEVAL 'THAMES' ST. THOMAS BECKET'S SHRINE PILGRIM'S BADGE

CIRCA 1380 A.D.

1⅞ in. (5.81 grams, 47 mm).

A lead-alloy pilgrim's badge fragment, the lower portion of an image of the saint's shrine; the clothed body of Becket shown horizontally on a bier with pellet detailing above an arcade of lancet arches, openwork lower panel. [No Reserve] £200 - 300

PROVENANCE

Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

LITERATURE

Cf. Spencer, B., Pilgrim Souvenirs and Secular Badges, Woodbridge, 2010, item 75a.

PUBLISHED Spencer, B., Pilgrim Souvenirs and Secular Badges, Woodbridge, 2010, p. 101 (this item).

349

MEDIEVAL 'THAMES' VIRGIN AND CHILD WITHIN A CRESCENT MOON PILGRIM'S BADGE

EARLY 16TH CENTURY A.D. 1 in. (2.1 grams, 25 mm).

A lead-alloy pilgrim badge from the shrine at Walsingham (Norfolk) depicting the Assumption; Virgin Mary standing crowned holding the infant Christ and a sceptre topped by a fleur-de-lis; supported by a crescent with a band of pellets to the lower edge. [No Reserve] £200 - 300

PROVENANCE

Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

LITERATURE

Cf. Mitchiner, M., Medieval Pilgrim & Secular Badges, London, 1986, item 878; Spencer, B., Pilgrim Souvenirs and Secular Badges, Woodbridge, 2010, p.150, no.155.

350 LARGE MEDIEVAL 'THAMES' AGNUS DEI PILGRIM'S BADGE

15TH CENTURY A.D. 2⅛ in. (11.5 grams, 55 mm).

A large lead-alloy pilgrim's badge fragment depicting a regardant lamb with textured fleece holding a staff vertically in its mouth; the Agnus Dei (lamb of God) named from the biblical reference in John 1:29. [No Reserve] £200 - 300

PROVENANCE

Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

351

MEDIEVAL PRICKET CANDLESTICKS RAISED ON LIONS

NETHERLANDS, CIRCA 1450 A.D. 13⅛ in. (5.59 kg total, 33.5 cm high).

A matched pair of bronze pricket candlesticks, each with a deep vented socket with stepped rim, tapering stem with three balusters, tiered base resting on three lions. [2, No Reserve]

£4,000 - 6,000

hammer

PROVENANCE with Sotheby's, New York, 30 January 2021, lot 710. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114458-196259.

LITERATURE

Cf. similar item in the Metropolitan Museum of Art, New York, under accession number 41.100.186.

352

MEDIEVAL GILT PAX WITH BISHOP 15TH CENTURY A.D. OR LATER 6¼ in. (422 grams, 16 cm high).

A gilt-bronze 'pax' or miniature shrine comprising a portico and niche with bust on the pediment, flanking columns beneath the entablature and applied silver discs with busts of puttos, figure of a bishop with mitre, crozier and book, tiered base; applied rosettes and inset glass cloison to the centre of the base; strap handle to the reverse. [No Reserve] £600 - 800

PROVENANCE

Carlo de Carlo, London, UK, circa 1980. Ex central London gallery.

FOOTNOTES

The 'pax' was used in the mass to be kissed in turn by members of the congregation. The person holding it would say 'Pax tecum' (Peace [be] with you) and receive the response 'Et cum spiritu tuo' (And with your spirit).

353

MEDIEVAL GILT FINIAL FIGURE GROUP

14TH CENTURY A.D. 2⅝ - 3⅜ in. (56 grams total, 67-86 mm).

A group of two gilt-bronze finials comprising: a nimbate female figure in long draped robes, hands raised to the face and neck; a bearded figure in floor-length robe holding a large saw or knife in his right hand, probably St Bartholomew. [2, No Reserve] £500 - 700

PROVENANCE

Guy Onghena, Belgium. Ex central London gallery. 354

BRITISH MEDIEVAL SEAL MATRIX WITH ST PETER

13TH-14TH CENTURY A.D. 1½ in. (17 grams, 3.7 cm high).

A copper-alloy seal matrix featuring an openwork trefoil terminal, waisted hexagonal-section stem with collar and what appear to be incised orientation marks; discoid die depicting Saint Peter standing left within a dotted roundel, wearing a draped robe and holding two keys in one hand, a book in the other, palm fond behind, with surrounding legend: '* SANCTVS PETRVS' (Saint Peter); held in a protective collector's case and accompanied by an impression. £200 - 300

PROVENANCE

Found near Wimborne, Dorset, UK, 2012. Recorded with the British Museum's Portable Antiquities Scheme. Property of a Dorset gentleman. Accompanied by the PAS report, reference DOR-40BB80.

LITERATURE

Cf. The British Museum's Portable Antiquities Scheme Database, record id. YORYM-DBBEA4 for a similar example.

PUBLISHED

The British Museum's Portable Antiquities Scheme Database, record id. DOR40BB80, for this item, where it is designated 'a find of note' and of 'County / local importance'.

355

MEDIEVAL OPENWORK CENSER COVER

GERMANY, CIRCA 1200 A.D. 4⅝ in. (198 grams, 11.7 cm).

A domed incense cover with four attachment lugs to the circumference and single loop to the apex; openwork vegetal forms arranged into four triangular panels. [No Reserve] £600 - 800

PROVENANCE with Sotheby's New York, 1 December 1997, lot 115. Ex central London gallery.

356

MEDIEVAL KNIFE WITH EUCHARIST AND HART

CIRCA 15TH-16TH CENTURY A.D.

7 in. (30.1 grams, 17.7 cm long).

A scale-tanged iron knife with one cutting edge and wood scales, subrectangular brass pommel with an incised figure to each face: a female figure holding a communion wafer and goblet of wine, one hand seemingly in the benison gesture of blessing; a couchant hart facing right to the other face.

£300 - 400

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

LITERATURE

Cf. The British Museum's Portable Antiquities Scheme, record ids. SF-355926 and NLM-9CB648, for comparable examples.

357 MEDIEVAL KNIFE WITH 'FEAR GOD' INSCRIPTION AND FEEDING THE MULTITUDE

15TH-16TH CENTURY A.D.

7⅛ in. (37 grams, 18.1 cm long).

A scale-tanged iron knife with one cutting edge and wood scales, bifacial brass pommel with incised detailing: one face showing a robed female figure wearing a veil in profile left; one face with a geometric scheme, likely representing two fishtails with a tally mark of five between, likely an allusion to the story of Jesus and the five loaves, two fishes; knife bolster with ropework detailing and Latin inscriptions 'DEVM' to one face, 'TIME' to the other face, meaning 'Fear God'.

£300 - 400

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

LITERATURE

Cf. The British Museum's Portable Antiquities Scheme, record id. NLM-9CB648, for a pommel of similar style.

358

MEDIEVAL 'THAMES' KNIFE WITH CROWN AND MAKER'S MARK

15TH CENTURY A.D.

6½ in. (32 grams,16.5 cm).

A slender knife with single-edged iron blade, scale-tang hilt with original wooden scales; openwork trilobe finial with reserved quatrefoil on a hatched field to both faces, likely a stylised crown; blade stamped with a maker's mark, possibly taking the form of a chalice. £150 - 200

PROVENANCE

Found on the Thames foreshore. Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

LITERATURE Cf. Wheeler, M., London Museum Medieval Catalogue, reprinted Ipswich, 1993, pl.XI.

359 MEDIEVAL KNIFE WITH CROWNED KNIFE HANDLE CIRCA 15TH CENTURY A.D. 7¾ in. (30 grams, 19.8 cm long).

A scale-tanged iron knife with one cutting edge and tapering wood scales, the blade stamped 'X' to one face, bifacial brass pommel in the shape of a crown with incised detailing. £200 - 300

PROVENANCE Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

360

LARGE MEDIEVAL VIRGIN AND CHILD WITH SAINT ANNE FROM THE WORKSHOP OF NIKLAUS WECKMANN ULM, GERMANY, CIRCA 1520 A.D. 35⅝ in. (26.75 kg, 90.5 cm wide).

A carved limewood scene of the Virgin Mary, infant Jesus and Saint Anne from the workshop of Niklaus Weckmann; to the left, Virgin Mary seated wearing a long crimson robe with a gold mantle around her shoulders and hips, and a white band disappearing beneath her copious auburn hair; Saint Anne seated to the right, wearing a white veil and wimple with yellow linear detailing, russet-tan robe over a cream-white undershift visible at the sleeves, sky-blue mantle wrapped around her lower body; infant Jesus naked standing between the two females in lively pose with arms spread wide. [No Reserve] £5,000 - 7,000

PROVENANCE with Christie's, France, 16 June 2016, lot 10. Ex central London gallery. Accompanied by an academic report by Dr Raffaele D’Amato.

LITERATURE

See Sismann, G., Sculptures Européens & Objects d’Art, Paris, 2012, for similar; Preising, D., A Neo-Gothic Carver’s Collection of Gothic Sculptures, meaning and function, Aachen, 2018, no.13; on the work of Weckmann see Württembergischen Landesmuseum Stuttgart, Meisterwerke massenhaft. Die Bildhauerwerkstatt des Niklaus Weckmann und die Malerei in Ulm um 1500, Stuttgart, 1993.

FOOTNOTES

Niklaus Weckmann was a sculptor and woodcarver who was active in Ulm between 1481 and 1526. He produced a number of remarkable carved altarpieces and other religious sculpture and his workshop was one of the largest in Ulm. Weckmann's output had been attributed to Jörg Syrlin the Younger (c.1455-1523) until restoration work on the statue of St Stephen of Gundelfingen revealed his signature and the date 1528. Originally placed in the centre of an altarpiece, this important composition of three characters had to be surrounded by painted and sculpted scenes around the iconography of ‘Trinitarian Saint Anne’. This subject was very much in vogue at the end of the 15th century. The timber shows some old insect flight holes and we are advised that this piece has been recently treated with Permethrin, as a precaution.

361

MEDIEVAL LIMEWOOD FIGURE OF ST JOHN FROM THE WORKSHOP OF TILMAN RIEMENSCHNEIDER

FRANCONIA, LATE 15TH-EARLY 16TH CENTURY A.D.

38¾ in. (5.45 kg, 98.5 cm high).

A carved limewood figure of St John from the workshop of Tilman Riemenschneider in Würzburg, Germany; the saint standing with his head slightly tilted, a mop of curled hair surrounding his doleful face; a long mantle draped over his sleeved tunic, his bare feet placed on a knoll with textured grass and stones; holding a Gospel in his left hand. [No Reserve]

£4,000 - 6,000

PROVENANCE

French private collection.

Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114460-196260.

LITERATURE

See Tönnies, E., Leben und Werke des Würzburger Bildschnitzers Tilman Riemenschneider, 1468-1531, Strassburg, 1900; G mez-Moreno, C., Medieval Art, from private collections, a special exhibition at the Closters, October 30, 1968, through March 30, 1969, New York, 1968; Bier, J., Tilman

Riemenschneider: His life and Work, Lexington, 1982; Chapuis, J., Tilman Riemenschneider: Master Sculptor of the Late Middle Ages, National Gallery London Publications, 1999; late Gothic wooden statues of St John the Evangelist from a crucifixion in Dá ová, H. and Pražáková, M. (eds.), In the middle of the Czech Crown - Gothic and Early Renaissance Art of Eastern Bohemia 1250-1550, (in Czech), Muzeum východních ech v Hradci Králové, 2020, pp.142-143, 177.

FOOTNOTES

Tilman Riemenschneider was a prolific sculptor in stone and in limewood, whose work is held to mark the transition from the late medieval 'Gothic' style to the more naturalistic Renaissance style. From circa 1520, his increasing involvement in local government and politics entailed handing over much of his commission work to his apprentices and workshop. His work is unusual for its deep modelling of folds in clothing and in that it was not always painted. This statue was possibly part of a carving group representing the Crucifixion. The timber shows some old insect flight holes and we are advised that this piece has been recently treated with Permethrin, as a precaution.

362

LIFE-SIZE MEDIEVAL WOODEN STATUE OF THE VIRGIN AND CHILD

16TH CENTURY A.D. 61 in. (87 in.) (139 kg total, 1.55 m high (2.21 m high including stand)).

A carved hardwood statue on a separate gilded stand; the figure of Mary with flowing hair bound within a tight cap, A-line robe secured by a filet beneath the bust; mantle draped from the shoulders with securing cords on the upper chest and holding a bunch of flowers under her left arm; infant Jesus held at the right hip, one foot supported by the left hand held across the body; later gilded stand with octagonal top, segmented panels with applied gesso finish and moulded foliage motifs; scrolled feet beneath. £10,000 - 14,000

PROVENANCE

French collection, 1990s-early 2000s. Ex Ogotai Auctions, Brussels, Belgium, 22 January 2016, lot 10. From an important Paris gallery, France. Ex private Paris collection. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 114461-195310.

LITERATURE

Cf. Sismann, G., Sculptures Européennes & Objets d’Art, Paris, 2012, fig.12; Bertoni Cren, N., ‘Entourage de Jean de la Huerta: la sculpture sur bois du Maitre de Neublans’ in Travaux 2016 [de la Société d’émulation du Jura], Lonsle-Saunier, 2017, pp. 55-66, fig.13.

FOOTNOTES

The wooden sculpture probably once decorated a private aristocratic chapel in a church, and is enhanced by the elaborate, vivid drapery and by the delicate features and expressions of the Virgin and Child. The tenderness with which Mary holds her child and her refinement are expression of mother's love towards her son. The flowers in her hand are also symbolically linked to Mary, as she was considered to be the most beautiful of all the flowers.

363

MEDIEVAL GILT RELIEF OF THE VIRGIN AND CHILD ITALIAN, LOMBARDY, CIRCA 1480 A.D. 14½ in. (1.04 kg, 37 cm high).

A carved and gilded wooden relief panel depicting the nimbate Virgin Mary seated on a throne wearing a copious draped robe, nimbate infant Jesus resting naked on her lap, four adoring angelic figures in the surround, dense foliage to the background; dais with reserved text to the forward edge 'SALVE R[EG]INA MATE[R]' (hail, queen [and] mother); heavy gilding across the surface. [No Reserve] £1,000 - 1,400

PROVENANCE Private collection, Germany, until 2019.

LITERATURE Cf. a similar ‘Madonna Orante’ (Praying Virgin) in the Torcello Museum, late 15th century A.D. in Polacco, R., Nepi Scire, G., Zattera, G., Museo di Torcello, Sezione Medioevale e moderna, Venezia, 1978, no.128.

FOOTNOTES

Devotional panels like this one were hung in churches but also at homes for private prayers. The inscription is the beginning of the well-known song 'Salve Regina, Mater Misericordia', created by Cluny abbots in the 12th century A.D. and also sung by the Templars as a battle hymn.

364

MEDIEVAL OAK PANEL OF A HORSE DRIVER FRANCE, CIRCA 15TH CENTURY A.D. 20½ in. (4.95 kg, 52 cm wide).

A carved oak panel depicting a horse driver raising a knotted whip or scourge to three horses emerging from a crenelated stone building with pitched roof. [No Reserve] £2,000 - 3,000

PROVENANCE UK private collection. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114462-196267.

MEDIEVAL THE CHILDREN OF THE MIRACLE OF SAINT NICHOLAS DIORAMA

FRANCE, CIRCA 1500 A.D. 13 in. (835 grams, 33 cm high).

A carved wooden scene comprising a stave-built tub with holes in the upstands for carrying straps; upper body of a young girl with hairband restraining her hair, loose-fitting shift, arms raised into the air and exultant facial expression; second girl, similar, hands clasped together in prayer; third smaller girl with right hand raised and left pressed to her chest; modelled in the round. [No Reserve] £800 - 1,000

PROVENANCE with Etude Tajan, 18 December 2014, lot 55. Ex central London gallery.

FOOTNOTES

The legend of the Miracle of Saint Nicholas concerns three children working in the fields who came into the town and asked for lodging with a butcher; granting them access, he killed and dissected them and put their bodies in a salting tub; some time later, St. Nicolas entered the shop and demanded that the tub be opened. The saint then commanded the children to rise up and miraculously they did so. This tale was popular in France into early modern times and is one of the best-known miracles associated with the saint.

366

MEDIEVAL STAINED GLASS ROUNDEL OF THE ARMS OF SIDNEY SUSSEX COLLEGE CAMBRIDGE

16TH CENTURY A.D. 18½ x 13⅝ in. (1.45 kg, 47 x 34.7 cm).

A rectangular stained glass panel with lead cames, displaying the coat of arms of Sidney Sussex College, Cambridge; text above reading 'Sidney and Sussex Coll: Cambridge'; blazoned Argent, a bend engrailed sable, impaling Or, a pheon azure. [No Reserve] £400 - 600

PROVENANCE Ex central London gallery.

FOOTNOTES

Lady Frances Sidney, a Lady of the Bedchamber to Queen Elizabeth I, left the sum of £5000 in her will for the foundation of a new Cambridge college. Following her death in 1589, her executors Sir John Harrington and Henry Grey 6th Earl of Kent, under the supervision of Archbishop John Whitgift, founded the college in 1596 A.D. The arms were officially granted in 1675.

367

MEDIEVAL STAINED GLASS PANEL WITH BEARDED MAN WITH A FANTASTIC COLLAR

EARLY 16TH CENTURY A.D. 24 x 22¼ in. (3.3 kg, 61 x 56.5 cm).

A polychrome stained glass window with lead cames, depicting a bearded male bust within a shield embellished with a floral and foliate border, cherubs around and a scallop shell finial below; the gentleman gazing skywards to the right, holding a plant, possibly a lily, in one hand, a radiant star over his left shoulder, dressed in sumptuous robes adorned with an ornate collar. [No Reserve]

£2,000 - 3,000

PROVENANCE Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.114463-196241.

368 MEDIEVAL GOLD LOVE PENDANT 15TH CENTURY A.D. OR EARLIER 1 in. (4.26 grams, 24 mm).

A bifacial gold bar bearing a heart-shaped polished garnet and a triangular panel of granulation to each face, albeit with alternate orientations; suspension loops to one long edge. £400 - 600

PROVENANCE

Acquired 1970-2010. Collection of a late Japanese gentleman.

369

MEDIEVAL 'HOUSE OF LANCASTER' GOLD RING WITH S'S

15TH CENTURY A.D.

¾ in. (1.08 grams, 18.53 mm overall, 15.73 mm internal diameter (approximate size British J½, USA 5, Europe 9.32, Japan 9)).

A slender gold D-section finger ring with eight stamped ornaments of a majuscule 'S' aligned vertically.

£1,000 - 1,400

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

FOOTNOTES

It is possible that the ring belonged to a member of the House of Lancaster since Henry IV adopted a monogram based on 'SS'. It has been argued (Ormerod, 1956) that the 'S' was a personal motto, standing for 'Souvenez' (medieval French for 'Remember').

370 MEDIEVAL GOLD DECORATED RING WITH FLAT-BED GARNET

15TH CENTURY A.D.

¾ in. (4.94 grams, 20.78 mm overall, 15.60 mm internal diameter (approximate size British I½, USA 4½, Europe 8.07, Japan 7)).

A gold finger ring with incised floral and geometric panels to the shoulders, conical bezel with scooped panels and inset garnet cloison.

£3,000 - 4,000

PROVENANCE

Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

371 MEDIEVAL GOLD RING WITH CARNELIAN GEMSTONE

LATE 15TH-EARLY 16TH CENTURY A.D.

¾ in. (4.33 grams, 18.91 mm overall, 15.29 mm internal diameter (approximate size British G½, USA 3½, Europe 5.55, Japan 5)).

A slender gold finger ring with integral ellipsoid bezel set with a carnelian cabochon.

£1,000 - 1,400

PROVENANCE Acquired 1960s-1990s.

Late Alison Barker collection, a retired London barrister.

A silver-gilt finger ring with twisted-band detailing to the hoop, bezel formed as two hands supporting a heart and a crown with openwork detailing; marked to the inner face with the PAS reference number '11089'. £400 - 600

PROVENANCE

Found while searching with a metal detector near Romney, Folkestone and Hythe, Kent, UK, on Wednesday 1st August 2018.

Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.KENT-11089B.

Accompanied by a copy of letters from the Coroner confirming that the Crown's interest in the ring under treasure reference no.2018T662 has been disclaimed. Accompanied by copies of receipts from the Department for Digital, Culture, Media & Sport.

LITERATURE

Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 728, for type.

373

MEDIEVAL GILT SILVER CRUCIFIX PENDANT

15TH CENTURY A.D.

1¼ in. (2.61 grams, 32 mm).

A silver-gilt cruciform pendant with foliate arms, Corpus Christi flanked by two figures, pierced suspension lug. £200 - 300

PROVENANCE Acquired in London in 1988. Property of a Kent gentleman.

372 'THE ROMNEY' MEDIEVAL GILT SILVER FEDE RING WITH HANDS HOLDING A HEART CIRCA 1400-1550 A.D.

⅞ in. (3.70 grams, 22.70 mm overall, 19.57 mm internal diameter (approximate size British T, USA 9½, Europe 21.26, Japan 20)).

374 MEDIEVAL MARBLE FRAGMENT WITH BUST FROM THE CLOSE CIRCLE OF GIOVANNI PISANO PROBABLY ITALY, 14TH CENTURY A.D. 7¼ in. (1.73 kg total, 18.5 cm high including stand).

A carved marble fragment depicting a bearded male head in profile left, possibly Saint Peter, modelled in three-quarter view with tousled hair and a sturdy neck. [No Reserve] £3,000 - 4,000

PROVENANCE From the collection of Altounian-Rousset (1890-1954). with Artcurial, 18 September 2019, lot 124. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 114465-196256.

LITERATURE

Cf. Pisano's famous sculpture Head of a Bearded Man is now in the National Gallery of Denmark, Copenhagen.

FOOTNOTES

Giovanni Pisano (c.1250- c.1315) was a sculptor, painter and architect, who was active in Pisa, Siena and Pistoia, Italy. He is known for his sculpture which recalls aspects of classical Roman figure-work.

375 MEDIEVAL HEAD OF A FEMALE SAINT FRANCE, RODEZ, ALBI, CIRCA 1480-1490 A.D. 11⅝ in. (14.4 kg total, 29.5 cm high including stand).

A carved sandstone head modelled in the round as that of a female saint with naturalistically rendered facial features, wearing a veil and wimple; mounted on a custom-made display stand. [No Reserve] £3,000 - 4,000

PROVENANCE

Collection of Jacqueline Boccador, France, until 2006. Private London collection, 2006-2021. Ex central London gallery. Accompanied by scholarly note TL05444 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 11536-196261.

376 MEDIEVAL LIMESTONE HEAD OF A CROWNED WOMAN FRANCE, EARLY 15TH CENTURY A.D. 6¼ in. (1.15 kg total, 16 cm high including stand).

A fragment of a carved limestone figure of a noblewoman modelled in the round with pleated veil and crown with strawberry-leaf upstands, youthful facial features; mounted on a custom-made stand. [No Reserve] £2,000 - 3,000

PROVENANCE

From the collection of Altounian-Rousset (1890-1954). with Artcurial, 18 September 2019, lot 111. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11537-196255.

377 MEDIEVAL BUST OF ANTHONY THE ANCHORITE TROYES, CHAMPAGNE, 15TH CENTURY A.D. 11 in. (7.5 kg, 28 cm high).

A carved sandstone bust of a bearded cleric with an open book at his left shoulder; depicted wearing an over gown with a scooped collar and pleated front sporting decorative studs; pierced at the left chest for attachment; believed to represent Anthony the Anchorite. [No Reserve] £2,000 - 3,000

PROVENANCE US art trade, 2015. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no11538-196249.

FOOTNOTES

Anthony (251-356) was a Christian monk from Egypt, later revered as a saint. He is distinguished by various epithets including 'Anthony of Egypt', 'Anthony the Abbot', 'Anthony of the Desert', 'Anthony the Anchorite' and others. He is also known as the 'Father of All Monks' due to his importance in establishing monastic and anchorite traditions in the early church. He allegedly lived to the age of 105; his cult was promoted by the Emperor Constantine.

378

ENGLISH MEDIEVAL LIMESTONE CORNICE SECTION WITH CROWNED HEAD

13TH-14TH CENTURY A.D. 12⅝ in. (14.5 kg, 32 cm wide).

A carved limestone cornice section with chamfered forward edge and youthful male head with narrow chin and nose, wearing a crown and with the hair swept back from the face. £400 - 600

PROVENANCE

From Essex, S.E. England, UK. Acquired 1970s onwards. Private collection of Michael O'Hara (d.2021), Cambridgeshire, UK.

379

ENGLISH MEDIEVAL LIMESTONE CORNICE SECTION WITH VEILED HEAD

13TH-14TH CENTURY A.D. 11 in. (10.4 kg, 28 cm wide).

A section of a carved limestone cornice or pediment with chamfered upper edge to the obverse and head of a female wearing a veil and wimple; the eyes and mouth deeply modelled due to erosion. £400 - 600

PROVENANCE

From Essex, S.E. England, UK. Acquired 1970s onwards. Private collection of Michael O'Hara (d.2021), Cambridgeshire, UK.

380

MEDIEVAL LIMESTONE HEAD OF A MAN FRANCE, 15TH CENTURY A.D. 12¼ in. (10.2 kg total, 31 cm high including stand).

A limestone head carved with semi-naturalistic detailing to the hair and face, the individual depicted with high cheek bones and prominent eyes, the mouth modelled slightly ajar, earlobe protruding from beneath swept back curls of hair on the proper right side of the head; mounted on a custom-made display stand. [No Reserve] £1,000 - 1,400

PROVENANCE with Christies London, 17 November 2013, lot 133. Ex central London gallery.

381

MEDIEVAL CORBEL WITH HEAD OF A WOMAN 12TH-13TH CENTURY A.D. 13 in. (9.9 kg total, 33 cm high including stand).

A carved sandstone corbel with Romanesque bust of a woman to the inner face, with centre-parted straight hair, large round eyes, slightly downturned mouth evoking a mournful expression; keyed to the rear face and with a securing slot to the rear of the upper face; mounted on a custom-made display stand. [No Reserve] £500 - 700

PROVENANCE

Acquired Howard Neville, Kent, 2002. Property of a Kent collector.

LITERATURE See Toman, R., Romanesque Architecture, Sculpture, Painting, Cologne, 1997, for discussion.

382

MEDIEVAL 'OUR LADY OF THE FLAMES' FIGURAL SCENE 15TH CENTURY A.D. OR LATER 15 in. (10.5 kg total, 38 cm including stand).

A carved limestone figurine depicting a standing facing female wearing a tight-fitting robe and headdress with a veil; beside her left hip, a child standing facing her with arms raised and one knee bent; columns of fire flanking the body; mounted on a custom-made stand. [No Reserve] £700 - 900

PROVENANCE Acquired Lukas Pearsie, Suffolk, 2012. Property of a Kent collector.

FOOTNOTES

One version of the legend of 'Our Lady of the Flames' concerns an image of Mary and the Infant Jesus which was saved from a house-fire at Forli, near Ravenna, Italy by a miraculous intervention. The icon burst out of the wall of the blazing house to the astonishment of the locals, who reported it to the church authorities and it was subsequently accepted by a papal legate as a miracle. The legend was propagated in an early Italian printed book by Giuliano Bezzi called Il Fuoco Trionfante (The Triumphant Fire) printed in 1637. The events are said to have taken place around 1420 A.D.

383

MEDIEVAL CAPITAL SECTION WITH INTERLACED VINES

FRANCE, TOULOUSE, MID 12TH CENTURY A.D. 13 in. (13.8 kg total, 33 cm wide including stand).

A carved portion of a limestone capital for a column, D-shaped at the base flaring to a rectangular platform above; high-relief carving of vines and looped tendrils in a dense meshed pattern; mounted on a custom-made stand. [No Reserve] £1,000 - 1,400

PROVENANCE with SAS Guillaumot-Richard, 25 June 2016, lot 204. Ex central London gallery.

384 MEDIEVAL CAPITAL WITH A LIZARD SOUTHERN FRANCE, CIRCA 1400 A.D. 8¼ in. (2.5 kg, 21 cm high).

A freestanding carved limestone column capital featuring a lizard in deep relief, facetted moulding above and below. [No Reserve] £600 - 800

PROVENANCE Australian private collection. Ex central London gallery.

385

MEDIEVAL FOLIATE GABLE PEAK 13TH-15TH CENTURY A.D. 17⅛ in. (48.3 kg, 43.5 cm high).

A limestone gable peak, roughly triangular in cross-section, presenting a central triangular niche, four acanthus leaves on a vine to outer register; hexagonal top showing original bronze bar for affixing finial or pinnacle. [No Reserve] £500 - 700

PROVENANCE Reputedly from York Minster renovations. Acquired UK auction. Property of a Kent collector.

charges

in addition to the final hammer price of each Lot

paragraphs 19 & 26 of buyer's T&C's

386

MEDIEVAL STONE VIRGIN AND CHILD LOIRE VALLEY, FRANCE, CIRCA 1500 A.D. 31½ in. (112 kg, 80 cm high).

A stone statue depicting the Virgin Mary seated with the (now acephalous) infant Christ seated on her proper right knee, the boy assisting his mother to hold open the pages of a book, likely the Bible, to a specific page, his right hand tenderly supporting her extended left hand from below, carved in the round with naturalistic anatomical detailing to each figure and their garments; the later replacement crown has been removed; traces of polychrome pigment. [No Reserve]

£8,000 - 10,000

PROVENANCE with Christie's, France, 8 November 2013, lot 36. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 11539-196243.

LITERATURE

Cf. for examples the sculpture of the Virgin with child of late century 15th century A.D. in Wixom, W., The Metropolitan Museum of Art Bulletin, Medieval Sculpture at the cloisters, Volume XLVI, no.3, New York, 1988/89, pp.5-6; Forsyth, W., The Pieta in French Late Gothic Sculpture: Regional Variations, New York, 1995; Fogg, S., 30 Heads, stone heads from the 12th to the 15th century, London, 2018, pp.86ff.

FOOTNOTES

The Virgin and Child represent one of the most frequent subjects in the Gothic medieval sculpture, due to the development of the cult of the Virgin and the increase in the veneration of Mary. These carvings were not limited to churches, but were also found in shrines, entrances to towns, and inside private chapels. The long wavy hair, the rounded forehead, the almond-shaped eyes and the delicate smile are widespread stylistic features found in several regions among Germany and France (in particular Lorraine, Burgundy, Île-de-France, Loire Valley, Bourbonnais, Meuse Valley).

387

387

MEDIEVAL TILE SET WITH FLEURS-DE-LYS, STAG AND RABBITS FLANDERS OR NORTHERN FRANCE, CIRCA 1450-1500 A.D.

14⅜ x 14⅜ in. (5.9 kg, 36.5 x 36.5 cm).

A set of nine square glazed ceramic tiles arranged as a stag at centre of four rabbits and fleurs-de-lys to each corner, all within pierced roundels with flaming projections; set into a wooden frame. [No Reserve] £1,000 - 1,400

PROVENANCE

Private collection, the Netherlands. Ex central London gallery.

388

LARGE MEDIEVAL 'SUSSEX' ANTHROPOMORPHIC JUG 13TH-14TH CENTURY A.D. 14¼ in. (2.49 kg, 36 cm high).

A polychrome glazed ceramic anthropomorphic jug, the body with a gentle biconical profile, socket style neck and roughly round-section handle; featuring a human face with applied eyes and nose, incised eyebrows, the shoulder with arms and hands held together below the chin, a broad band of vegetal scrolls below, the scalloped foot formed of thumbings; reconstructed. [No Reserve] £1,500 - 2,000

PROVENANCE

From the estate of Christopher Sheppard. with Bonhams, London, 18 May 2016, lot 260. Ex central London gallery.

389

LATE MEDIEVAL GLAZED BARREL-SHAPED JAR FRANCE, 16TH CENTURY A.D. 8⅜ in. (1.38 kg, 21.2 cm high).

A large green-glazed barrel-shaped jar with integral handle. [No Reserve] £500 - 700

PROVENANCE UK trade, 1997.

Ex central London gallery.

390 MEDIEVAL LEGAL DOCUMENT IN CAROLINGIAN MINISCULE

DATED 1197 A.D. 10⅞ in. (11 grams, 27.5 cm).

A legal document on vellum, the Latin text in a Carolingian-derived miniscule script recording the sale of land (loco uocato Guadel) by Trubad son of Peter to John; witnessed by four clerics; endorsed in a later hand 'Venda de Unas Cajas [...] a 6 de las Kalendaas de [..] 1197'. [No Reserve] £600 - 800

PROVENANCE

Casa de Subhastes, 7 February 2002, lot 13.

Ex central London gallery.

For charges payable in addition to the final hammer price of each Lot see paragraphs 19 & 26 of buyer's T&C's

391 ELIZABETHAN GOLD RING WITH NATURAL DIAMOND CRYSTAL MID 16TH CENTURY A.D. 1⅛ in. (5.26 grams, 30.30 mm overall, 18.26 mm internal diameter (approximate size British P, USA 7½, Europe 16.23, Japan 15)).

A gold ring with D-section hoop, scrolled shoulders and cushion bezel, an architectural setting holding a polished diamond crystal. £6,000 - 8,000

PROVENANCE Ex Michael Denton, Portobello Road, Notting Hill, London W11. Acquired from M.D. in the late 1980s. Accompanied by scholarly note TL5453 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11540-196372.

LITERATURE Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 681, for type.

392 'THE BROOKLAND' LATE TUDOR 'LOVE IS THE BOND OF PEACE' GOLD POSY RING CIRCA 1600-1650 A.D. ¾ in. (3.40 grams, 19.97 mm overall, 16.94 mm internal diameter (approximate size British L, USA 5¾, Europe 11.24, Japan 10)).

A late Tudor or Stuart solid gold finger ring formed as a band of bosses each with a beaded collar and smaller interstitial bosses flanking the junction with each neighbour; to the inner face, the legend engraved in a florid italic hand 'Love is the bonde of peace' with flourish on the final 'e'. £2,000 - 3,000

PROVENANCE Found while searching with a metal detector in Brookland, Folkestone and Hythe, Kent, UK, on Monday 12th July 2021. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.KENT-2CA863. Accompanied by a copy of a letter from the Coroner confirming that the Crown's interest in the ring under treasure reference no.2021T807 has been disclaimed. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no 11541-195599.

LITERATURE See Evans, J., English Posies and Posy Rings, Oxford, 1931, p.73.

FOOTNOTES

The legend is recorded in Evans (1931) and the ring has parallels in the PAS database.

393 GOLD 'MY HARTE YOV HAVE / AND YOVRS I CRAVE' POSY RING 17TH-18TH CENTURY A.D. ¾ in. (1.63 grams, 17.58 mm overall, 15.47 mm internal diameter (approximate size British J½, USA 5, Europe 9.32, Japan 9)).

A gold finger ring with reserved legend to the outer face MY HARTE YOV HAVE on a black enamelled field and reserved quartered square panel; inner face with incised legend 'AND YOVRS I CRAVE'. [No Reserve] £600 - 800

PROVENANCE Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

the final hammer price

394

GOLD HANDS ON HEART 'LET NOT ABSENCE BANISH LOVE' DECORATED POSY RING 17TH-18TH CENTURY A.D. ¾ in. (2.12 grams, 19.94 mm overall, 17.50 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)).

A gold annular D-section band engraved to the exterior with hands either side of a heart, together with interlace and floral forms; hoop interior with inscription 'Let not absence banish love:', followed by maker's mark 'DA' in a polygonal cartouche, possibly for Isaac Davenport. [No Reserve]

£500 - 700

PROVENANCE Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

395 GOLD MEMENTO MORI RING WITH 'NON . OMNIBVS . DORMIO' 16TH-17TH CENTURY A.D. ⅝ in. (2.56 grams, 16.82 mm overall, 14.47 mm internal diameter (approximate size British G½, USA 3½, Europe 5.55, Japan 5)).

A gold, D-section annular band with '+ NON + OMNIBVS + DORMIO' or 'I do not sleep' inscription in capital letters around hoop interior. [No Reserve]

£300 - 400

PROVENANCE Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

396 GOLD 'THE REMEMBRANCE OF YOUR SERVANT' DECORATED POSY RING

17TH-18TH CENTURY A.D. ⅝ in. (2.41 grams, 16.70 mm overall, 14.27 mm internal diameter (approximate size British E½, USA 2½, Europe 3, Japan 3)).

A gold annular band with D-section hoop, the exterior decorated with a series of raised stylised leaves (or chevrons) and pellets, with alternating 'leaves' enamelled in green; hoop interior inscribed 'The reme'brance of yor servant, L' in a cursive script, for 'The remembrance of your servant, L'; followed by a maker's mark in a rectangular cartouche. [No Reserve]

- 600

PROVENANCE Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

397

'FOR MY SAKE WEARE THIS' POSY RING

CENTURY A.D.

in. (1.78 grams, 16.35 mm overall, 14.10 mm internal

399

GOLD 'TO EXPRES MY LOVE' DECORATED POSY RING 18TH CENTURY A.D. ⅝ in. (1.25 grams, 15.84 mm overall, 14.21 mm internal diameter (approximate size British F, USA 2¾, Europe 3.67, Japan 3)).

A narrow D-section gold finger ring with reserved chevrons on a hatched field; inscribed to the inner face in a clear hand 'To expres my love', maker's mark 'B'. £500 - 700

PROVENANCE Acquired in London in 1990. Property of a Kent gentleman.

400

GOLD 'A TOKEN OF TRUE LOVE' POSY RING 18TH CENTURY A.D. ⅝ in. (1.42 grams, 16.78 mm overall, 15.47 mm internal diameter (approximate size British I, USA 4¼, Europe 7.44, Japan 7)).

A plain gold finger ring with text to the inner face in a fine italic hand 'A token of true love'. [No Reserve] £400 - 600

PROVENANCE Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

401 GOLD 'PATIENCE IS MY PENANCE' POSY RING 18TH CENTURY A.D. ¾ in. (4.26 grams, 19.11 mm overall, 16.14 mm internal diameter (approximate size British K½, USA 5½, Europe 10.58, Japan 10)).

A plain gold finger ring inscribed to the inner face '[*] Pacienc is My Penance' for 'Patience is my penance' in a florid italic script. [No Reserve] £500 - 700

PROVENANCE Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

402

GOLD 'GOD GIVES TO THOSE HE WISHES' DECORATED POSY RING 17TH-18TH CENTURY A.D. ¾ in. (2.65 grams, 17.01 mm overall, 14.95 mm

An

'LOVE IS THE BOND OF

A

PROVENANCE

RING

.

GILT SILVER DRESS HOOK FASTENER

16TH CENTURY A.D.

1 in. (7.3 grams, 27 mm).

A silver-gilt garment fastener comprising a plate of three lobes with slotted bar to the reverse and substantial hook above, three domes to the obverse each with loops of filigree enclosing a group of three annulets and a granule, large floral element to the centre.

£200 - 300

PROVENANCE

Acquired in London in 1990. Property of a Kent gentleman.

LITERATURE

Cf. Read, B., Hooked-Clasps and Eyes, Langport, 2008, item 261, for type.

405

TUDOR SILVER COSMETIC TOOL

16TH CENTURY A.D.

2 in. (2.3 grams, 51 mm).

A silver cosmetic tool comprising a hooked toothpick and a miniature spoon used as an ear scoop, serrated surface between used as a file; suspension ring. £200 - 300

PROVENANCE

Acquired in London in 1985. Property of a Kent gentleman.

LITERATURE

See British Museum's Portable Antiquities Database, ref.no. DENO-E6E8D8, for a very similar example found in Longford, Derbyshire.

406

TUDOR ELABORATE GILT SILVER DRESS PIN

16TH CENTURY A.D.

3 in. (3.06 grams, 77 mm).

A silver dress pin with gilt head formed as an imitation tassel beneath a collar and four radiating square-section spikes with a fifth above. £200 - 300

PROVENANCE

Acquired in London in 1985. Property of a Kent gentleman.

407

TUDOR 'THAMES' KNIFE COLLECTION

16TH CENTURY A.D.

4¼ - 7½ in. (192 grams total, 10.7-19 cm).

A group of five domestic and personal single-edged knives comprising: one scale-tang with slender blade, brass bolster and grip with wooden scales, scooped upper edge and hatched field with reserved 'N'; one with rounded end to the blade, conical brass grip with incised scale and braid detailing; one with rounded end to the blade, whittle-tang grip with brass rectangular finial, braided motif to the short faces, images of standing saints to the broad faces; one small triangular blade, whittle-tang grip with brass bolster, D-shaped finial with reserved initial 'H' to one face; one with short blade, whittletang grip with brass finial of a human head with horse-shoe crown. [5] £500 - 700

PROVENANCE

Found Thames foreshore. Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

LITERATURE

See Catalogue of London Antiquities in the the Guildhall Museum, London, 1903, plates LXXXIII and LXXXIV.

final

408

CRETAN SCHOOL PEDESTAL CROSS BASE WITH 'DESCENT FROM THE CROSS'

CIRCA 17TH CENTURY A.D. 41 in. (8 kg, 104 cm wide).

A hollow-constructed wooden stepped pedestal with socket to accept a devotional cross; gesso surface with moulded edging and gilt finish; painted scene of the 'descent from the Cross' and 'lamentation of the Christ' with Christ laid out on the Holy Shroud surrounded by sorrowful Mary Magdalene, Virgin Mary, Mary of Clopas, St John the Evangelist, Saint Joseph of Arimathea and Nicodemus holding a ladder in the background; coffin with open cover to the left, cave of Golgotha to the right with skull, landscape with city of Jerusalem in the background.

£12,000 - 17,000

PROVENANCE Property of a London lady, part of her family's collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 11542-196369.

Cf. Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999, figs.109,111; Sinkevi , I., Windows to the Heaven, treasures from the Museum of Russian Icons, Easton, 2017, no.R2003.12; see Lazarev, V. N., Russian icon painting from the origins to the beginning of the 16th century, Moscow, 2000.

FOOTNOTES

In the Orthodox world, single wooden crosses representing the Stavrosis (Crucifixion) were positioned as icons in their own right, with candles placed in front of them as offering for the dead. It is a tradition that dates back to Byzantium, and was continued in the Slavic Orthodox world with the creation of splendid painted wooden crucifixes placed on equally beautifully painted pedestals. In this case the complex representation includes all the elements of the Gospel that recall the passion, death and resurrection of Christ. Christ has been taken down from the cross and is surrounded by his loved ones. His muscular body highlights the wound in his right side procured by Longinus' spear. The pain of the mother, the piety of Mary, is expressed here with the mute silence of the Madonna, who holds her son's head, which contrasts with the pain manifested by the other bystanders. Saint Joseph of Arimathea, who procured the tomb and the sacred sheet, devoutly holds the feet of Christ. The right side of the scene shows the Golgotha, symbol of the human death of Christ. The left of the scene shows the open tomb, symbol of the human and divine Resurrection of Christ. The sacred sheet, loose inside the sepulchre with open lid, appears as a symbol of the saving grace of the Resurrection. The city in the background represents ancient Jerusalem transformed into its heavenly equivalent through the Resurrection of Christ.

LITERATURE

409

LARGE RUSSIAN VIRGIN OF VLADIMIR ICON

CIRCA 1860 A.D.

22¼ x 18⅛ in. (6.5 kg, 56.5 x 46 cm).

A gilded and painted icon of the Virgin of Vladimir depicting nimbate Mary Theotokos with veiled head and wearing a maphorion mantle over a dark blue robe with gold cuffs, inclined towards the infant Jesus supported by her right hand, his left arm wrapped around her neck and the right hand resting on her chest; gilt field and border with colourful enamelled detailing to the corners, roundels and rectangles with monograms and titling, on each side of her head ' ' ( ( ) = Mother of God), over her left shoulder Cyrillic inscription 'Владимирская Б.М.' (Vladimir Mother of God), over the child inscription in Greek letters ' ' ( = Jesus Christ), three letters (only two visible) inside the nimbus of Christ representing the continuous divine self-existence of Christ as God ('O N' = The Only One who always exists); Moscow School. £5,000 - 7,000

PROVENANCE

Property of a London lady, part of her family's collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 11543-196361.

LITERATURE

See Weizmann, K. et al., The Icon, New York, 1982; Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999; Geelmuyden Bulgurlu, V., Ulf, A., Lindgren, N., Bodin, H., Balicka-Witakowska, E., Five essays on icons, Stockholm & Istanbul, 2005, fig.6, p.31.

FOOTNOTES

This splendid specimen was probably originally housed in an aristocratic Russian home. The icon of the Virgin Mother of Vladimir with the infant Jesus (the original preserved in the Tretyakov Gallery, Moscow), probably the most famous icon of all of Russia, was thought to have been created in Constantinople in the early part of 1100s. This image is sometimes referred to as the ‘tenderness icon’, with artists attempting to show the close relationship of mother and son with their cheeks touching as they embrace.’

410 RUSSIAN ICON WITH VIRGIN OF KAZAN

17TH CENTURY A.D.

12⅝ in. (1.39 kg, 32 cm high).

A wooden painted board with mounting panels to the reverse, gessoed surface with central painting of the Virgin of Kazan (also called the Virgin of Tenderness) in a recess, comprising the bust of Mary and standing figure of infant Jesus, both nimbate, monograms to the upper corners; miniature figures of Saints Peter and Paul to the border; on each side of the head of the Virgin inscriptions ' ' and ' ' ( ( ) = Mother of God), inscription in Greek letters

' ' ( = Jesus Christ) above the child, three letters (only two visible) inside the nimbus of Christ representing the continuous divine self-existence of Christ as God ('O N' = The Only One who always exists); Yaroslavl School. £3,000 - 4,000

PROVENANCE

Property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 11544-196360.

LITERATURE See Preobrazhensky, A., ‘The icon of the Virgin of Kazan: new data on the early history of its veneration and the most ancient copies (in Russian)’ in

, (Miraculous Kazan image of the Mother of God in the fate of Russia and world civilization. Collection of reports of participants of scientific and educational readings, in Russian), Казань, 2018, pp.295-429.

FOOTNOTES

The original icon, also known as the Theotokos of Kazan, is thought to have originated in Constantinople in the 13th century before it was taken to Russia. When the Turks took over Kazan in 1438, the icon was most probably hidden to keep it safe. Ivan the Terrible liberated Kazan in 1552, and the town was destroyed by fire in 1579, after which the icon was found and brought to the Church of Saint Nicholas. It was subsequently stolen in 1904 and never found again, though there are many copies in existence.

411

CRETAN INCREDULITY OF ST THOMAS ICON 17TH CENTURY A.D.

19⅛ in. (1.58 kg, 48.5 cm high).

An icon painted on a wooden board with reinforcing panel to the reverse, gessoed surface with painting depicting the resurrected Christ revealing his wounds to St Thomas, who is reaching towards the fifth stigmata with his raised forefinger, the apostles having gathered around the pair witnessing the inspection of the wounds; Christ standing within a framed doorway with gilt dome above. £12,000 - 17,000

PROVENANCE

Property of a London lady, part of her family's collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11545-196368.

LITERATURE

See Psilakis, N., Byzantine Churches and Monasteries of Crete, Heraklion, 1998; Evans, H.C., The Arts of Byzantium, New York, 2001; for the iconography of the scene see Horn, M., ‘The incredulity of Saint Thomas on a Byzantine Sapphire from the Cheapside Hoard, London: A proposal for a new dating to the Palaiologan Period’ in Bosselmann-Ruickbie, A. (ed.), New Research on Late Byzantine Goldsmiths Works (13th-15th centuries), BOO, bd 13, Mainz, 2019, pp.165-183.

FOOTNOTES

The icon represents a well known iconography from the New Testament, Gospel of Saint John, chapter 20, in which the resurrected Christ stands beside ‘Doubting Thomas’, supposedly the most sceptical of the twelve apostles. In this chapter Christ appears to Thomas’s fellow disciples while Thomas himself is absent and upon his return, Thomas’s friends tell him about Christ’s resurrection, which Thomas does not believe in. After eight days pass, Jesus comes again, and this time Thomas is confronted by his Lord: “Reach hither thy finger, and behold my hands, and reach hither thy hand, and thrust it into my side, and be not faithless, but believing.”

RUSSIAN ICON WITH ST GEORGE

17TH-18TH CENTURY A.D.

10¼ in. (445 grams, 26 cm high).

A wooden painted board with mounting slots to the reverse, gessoed surface with gilded painting of St George, nimbate and mounted, attacking a supine dragon with his spear while a bound princess looks on; in the background, a city wall with king and courtiers, cloud with Hand of God emerging; Cyrillic title above.

£1,500 - 2,000

PROVENANCE

Property of a London lady, part of her family's collection.

LITERATURE

Cf. Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999, figs.66, 64, 99, 204.

413 RUSSIAN ICON WITH ST JOHN THE BAPTIST

19TH CENTURY A.D.

12¼ in. (1.02 kg, 31 cm high).

A wooden painted board with mounting panel and slots to the reverse, gessoed surface with painting of St John the Baptist standing nimbate with wings spread behind him, left hand supporting a bowl containing his severed head and holding an unfurled scroll with Cyrillic text 'Repent ye, for the Kingdom of Heaven is at hand,' (Matthew 3:2); right hand raised in blessing; landscape with sand-dunes and trees; gilded title above; the upper border with gilt Slavonic inscription reading 'Holy John the Forerunner'; from the Palekh Icon School, probably made in Mstera circa 1890. £3,000 - 4,000

PROVENANCE

Property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 11546-196366.

LITERATURE

See Zinoviev, N., Art of Palekh, Leningrad, 1968.

FOOTNOTES

The Palekh icon school emerged in the 17th century, inspired by the Moscow and Suzdal traditions of icon painting. Although preserving many features of traditional Russian iconography, the school created its own style that remained active into the 18th century. The hallmarks of the school include the frequent use of gold on the clothes of the saints and a rich palette. Bodies are shown as tall and slender and abrupt transitions between light and shadow are distinctive features of Palekh icons. The wings of Saint John derive from the double meaning of the Greek word used to describe him in Mark 1:2 - Angelos, meaning both messenger and angel. John is often called a 'Heavenly Man' and 'Earthly Angel' in Orthodoxy. At his feet is shown a small tree with an axe cutting into it, illustrating Luke 3:9, 'And now also the axe is laid unto the root of the tree...'

414

RUSSIAN ICON WITH VIRGIN OF KORSUN 19TH CENTURY A.D.

14 in. (1.24 kg, 35.5 cm high).

A wooden painted board with mounting slots to the reverse, gessoed surface with painting of the Virgin of Korsun (also known as the Virgin of Tenderness, Eleousa) with gilt detailing, nimbate busts of Mary and infant Jesus embracing with monograms and painted reveal; on the right side of Mary's head inscription ' ' ( ( ) = Mother of God), over the child, inscription in Greek letters ' ' ( = Jesus Christ), three letters (only two visible) inside the nimbus of Christ representing the continuous divine selfexistence of Christ as God ('O N' = The Only One who always exists).

£800 - 1,000

PROVENANCE Property of a London lady, part of her family's collection.

LITERATURE

Cf. Cormack, R., Icons, London, 2007, no.33.

FOOTNOTES

It is believed that the first Christian icon of the Mother of God of Korsun representing the Mother of God and the Divine Child was one of the icons depicted by St. Luke the Evangelist. According to the legend, in 1162 A.D., the copy of this important icon was sent to Rus from Ephesus, still part of the Roman Empire. The icon had been requested by the daughter of the Prince Svjatoslav Vseslavich, Saint Euphrosyne, the founder of the Savious Monastery in Polotsk. The icon passed through the city of Korsun where it remained for a year until being delivered to the Abbess of Polotsk, and was henceforth known as the Korsun icon of the Mother of God.

For charges payable in addition to the final hammer price of each Lot

paragraphs 19 & 26 of buyer's T&C's

415 RUSSIAN ICON WITH VIRGIN OF KAZAN WITH THE BLESSING CHILD

19TH-20TH CENTURY A.D.

12¼ in. (968 grams, 31 cm high).

A wooden painted board with mounting slots and panels to the reverse, gessoed surface with painting of the Virgin of Kazan, head of Mary with gilded nimbus and russet-coloured veil, standing infant Jesus similarly nimbate with right hand raised in the pax gesture; gilt monograms to the upper corners and title to the lower left corner. £600 - 800

PROVENANCE

Property of a London lady, part of her family's collection.

LITERATURE

See Preobrazhensky, A., ‘The icon of the Virgin of Kazan: new data on the early history of its veneration and the most ancient copies (in Russian)’ in

, (Miraculous Kazan image of the Mother of God in the fate of Russia and world civilization. Collection of reports of participants of scientific and educational readings, in Russian), Казань, 2018, pp.295-429.

FOOTNOTES

The original icon, also known as the Theotokos of Kazan, is thought to have originated in Constantinople in the 13th century before it was taken to Russia. When the Turks took over Kazan in 1438, the icon was most probably hidden to keep it safe. Ivan the Terrible liberated Kazan in 1552, and the town was destroyed by fire in 1579, after which the icon was found and brought to the Church of Saint Nicholas. It was subsequently stolen in 1904 and never found again, though there are many copies in existence.

416 RUSSIAN ENTRY TO JERUSALEM ICON

CIRCA 1880 A.D.

12¼ in. (1.18 kg, 31 cm high).

A wooden painted board with gessoed surface, naturalistic painting of Jesus's entry into Jerusalem on a donkey, passing through an arch in the city wall with celebrating crowds waving palm fronds; Jesus and Joseph shown with outline nimbus; heavily gilded interlaced border with rich turquoise field and polychrome detailing; title to the lower edge in Cyrillic script: 'Entrance of the Lord in Jerusalem'. £2,000 - 3,000

PROVENANCE

Property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 11547-196367.

LITERATURE

See Turtsova, N.M., The Entry of the Lord into Jerusalem. Series 'Russian icon. Images and symbols' (in Russian), St. Petersburg, 2014.

FOOTNOTES

The scene, painted in the style of late 19th-century romantic painters, represents a well-known part of the Gospels that describe the entry of Jesus into Jerusalem. He makes a grand entrance into the city on a donkey to fulfil the prophesy of Zechariah, “Tell the city of Zion, look, your king is coming to you! He is humble and rides on a donkey and on a colt, the foal of a donkey.”

417 RUSSIAN ICON WITH VIRGIN DONSKAYA WITH SILVER BASMA CIRCA 1700 A.D. 12⅜ in. (1.05 kg, 31.5 cm high).

A rectangular wooden board with slots and mounting panels to the reverse; sheet silver basma composed of decorative impressed strips trimmed to the outline of the painted image; icon of 'Virgin Donskaya' (Our Lady of the River Don), Mary wearing a dark purple veil and mantle with jewelled trim and tasselled fringe to the crook of the arm, infant Jesus supported by her right arm; rectangular panels with monograms flanking Mary's head; ' ' and ' ' ( ( ) = Mother of God), over the child inscription in Greek letters ' ' ( = Jesus Christ), three letters (only two visible) inside the nimbus of Christ representing the continuous divine selfexistence of Christ as God ('O N' = The Only One who always exists).

£1,200 - 1,700

PROVENANCE Property of a London lady, part of her family's collection.

LITERATURE

Cf. lyanov, O.G., Deesis of Andreev's letter of Rublev from the Annunciation Church of the Moscow Kremlin (on the 575th anniversary of the repose of the venerable icon painter, in Russian) in Monuments of Culture: New Discoveries: Yearbook. 2006-2008 (in Russian), Moscow, 2008, pp.364-394.

FOOTNOTES

The original of this icon (Our Lady of the Don) is a 14th century icon, with the characteristics of the Eleusa (Virgin of the tenderness), by the great painter Theophan the Greek, circa 1382-1395, held in the Tretyakov Gallery, Moscow.

418

RENAISSANCE STONE HEAD OF ARTEMIS

16TH-17TH CENTURY A.D. OR EARLIER 17 in. (1.75 kg, 43 cm high including stand).

A carved limestone head of a female figure, likely the goddess Artemis wearing a conical Phrygian cap displaying what appear to be entwined snakes, waves of hair emerging from beneath her head armour and falling down along the temples; mounted on a custommade display stand.

£1,800 - 2,400

PROVENANCE

French collection, 1990s-early 2000s.

Ex Hampel Auctions, Munich, Germany, 12 February 2014, lot 1922.

From an important Paris gallery, France.

Ex private Parisian collection.

Accompanied by an archaeological report by Dr Raffaele D’Amato.

LITERATURE

See Caubet, A., ‘La collection R. Hamilton Lang au Musée du Louvre', in RDAC, 1976, pp.168-77, for the iconography of Artemis Bendis.

FOOTNOTES

The head of the goddess is probably Italian or French workmanship. The goddess Artemis wearing a Phrygian cap was a common topic in ancient times, as attested from the statues of Artemis Bendis (Met inv. 74.51.2477, Cesnola collection). Bendis was the Thracian goddess of the hunt, similar to Artemis. Her worship originated in the rugged mountainous region in what is now Bulgaria, Turkey and Northern Greece, becoming fairly widespread throughout the Greek world by the Hellenistic period. Her attributes included Eastern dress, a soft leather Phrygian cap and a long-sleeved tunic and trousers (see also the statue in the BM, made in Cyprus, from the Sanctuary of Apollo at Pyla; the statuette of Tanagra in Louvre, Department of Greek, Etruscan and Roman Antiquities). The serpent, together with the deer, the dog, the boar, the goat, the bear, the quail, the buzzard and the guinea fowl was an animal sacred to the goddess Artemis.

419

RENAISSANCE MARBLE COAT OF ARMS

19TH CENTURY A.D. 23¼ in. (73 kg, 59 cm).

A marble coat of arms in raised relief featuring a helmet and single mullet, enclosed by a plain border; roughly plano-convex in crosssection; large iron pin and loop to reverse. [No Reserve] £400 - 600

PROVENANCE German collection prior to 2002. Acquired Numismata, Munich, Germany, in 2002. Private London collection.

420 MEDIEVAL MADONNA AND CHILD STATUE

16TH CENTURY A.D. 13¼ in. (14½ in.) (3.4 kg, 33.5 cm high (3.9 kg total, 37 cm high including stand)).

A carved volcanic tuff figurine of Mary sitting with the infant Jesus on her lap; Mary with an orb in her right hand and Jesus with a book in his left hand; mounted on a custom-made stand. £400 - 600

PROVENANCE

From Southern Europe. Acquired 1970s onwards. Private collection of Michael O'Hara (d. 2021), Cambridgeshire, UK.

421

HALF LIFE-SIZE WOODEN FIGURE OF A SPANISH KNIGHT

19TH-EARLY 20TH CENTURY A.D. 50¾ in. (40.3 kg, 1.29 m high).

A half life-size wooden figure, modelled naturalistically in the round as an armoured knight gazing to his right and surmounting a domed oval base, possibly once representing a grassy mound; his floor-length cloak pinned at the neck with a substantial jewel, wearing a small shield on his left arm bearing remains of a coat of arms; extensive remains of polychrome pigmentation; armour in the style of a circa 15th century medieval knight.

£1,800 - 2,400

PROVENANCE

French collection, 1990s-early 2000s.

Ex Ogotai Auctions, Brussels, Belgium, 22 January 2016. From an important Paris gallery, France. Ex private Paris collection.

422

RUSSIAN EMBROIDERED CHALICE COVER

17TH-18TH CENTURY A.D. 17½ in. (175 grams, 44.5 cm high).

An embroidered fabric chalice cover comprising five squares in a cruciform arrangement; the four panels representing the arms of the cross showing angels within column arches, depicting the four archangels Michael, Gabriel, Raphael and Uriel, each dressed in similar fashion but with different facial features; the centre section showing the Crucifixion with Mary on the left and St John on the right; the nimbate figure of Mary dressed in long robes, her right hand raised, Greek inscription 'MR (TH)U' above for Maria Theotokou, Maria the Mother of God; the nimbate St John to the right, dressed in similar fashion, Greek inscription 'S IOU' above for Sanctos Joannou, Saint John, above; Greek inscription 'IS XS' for Jesous Christos, the placard above the head of Jesus inscribed in Slavonic text 'IN(TS)I' for Jesus of Nazareth, King of the Jews; red silk lining to the inside (now detached) with an ownership inscription in Russian 'Transkaya Svati Neka** Monastiira N.11' loosely meaning 'Item 11 from the treasure of the monastery of Saint Nekaya'. [No Reserve] £600 - 800

PROVENANCE UK trade, 2000. Ex central London gallery. Accompanied by a copy of an academic report.

FOOTNOTES

The third character on the inscription on the placard above Jesus's head appears to be Slavonic TS for Tsar rather than Greek B for Basileos. The inscription attached to the cross is part of the biblical text, and so derived from Slavonic text, while the description of Mary as the Mother of God is a caption and so with the other captions is derived from traditional Greek works of art. 423

MEDIEVAL MAIOLICA ALBARELLO WITH GOTHIC FOLIAGE

ITALY, LATE 15TH CENTURY A.D. 6½ in. (477 grams, 16.5 cm wide).

A tin-glazed earthenware albarello featuring two handles and blue, green and manganese decoration in the form of Gothic foliage in rectangular frames, collar with foliage and pedestal with fillet. [No Reserve] £1,000 - 1,400

PROVENANCE with Etude Tajan, 17 June 2015, lot 37. Ex central London gallery.

LITERATURE

Cf. The British Museum, museum number 1898,0523.2, for a similar example dated 1450-1490 A.D; cf. The V&A Museum, accession number 834-1903, for a similar example dated 1475-1490 A.D.; cf. The Metropolitan Museum New York, accession number 1975.1.1059, for a similar example dated 1470-1490 A.D.

FOOTNOTES

Such vessels are among the finest examples of Late Gothic ceramics. They did not originally have lids, but were sealed using pieces of parchment or cloth tied around the neck with string, as is depicted in contemporary paintings. Such albarelli were highly prized for their decorative qualities which evoke a sense of luxury, as well as for their connotations to royal and princely learning and interest in medicine.

424

424

ARMENIAN OR GEORGIAN PRAYER SCROLL WITH PAINTINGS

19TH CENTURY A.D. 98½ in. (53 grams, 2.5m).

A narrow vellum scroll with black ink text written dextrograde; illuminated panel at the beginning with bearded Saint Theodore holding a spear and sword in a rectangular frame; second panel depicting a mounted emperor on a rearing horse thrusting his lance at a fallen figure. [No Reserve] £200 - 300

PROVENANCE Acquired in the 1970s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

425

ILLUMINATED JEWISH MOSES AND RED SEA DOUBLE LEAF 19TH CENTURY A.D. OR EARLIER 13⅝ x 10⅝ in. (13 grams, 34.5 x 27 cm).

A polychrome painting depicting Moses parting the Red Sea, incorporating panels of text; two paintings in gold on coloured backgrounds to the lower edge, showing the Ark of the Covenant and a menorah; gouache on double leaf; reverse with four columns of Turkish text within ruled red borders. [No Reserve] £200 - 300

PROVENANCE Acquired from Germany. Property of a Swiss collector.

FOOTNOTES

Here, Moses stands on the Egyptian shore with his staff with Star of David finial, guiding the people of Israel through the receding waters towards Jerusalem, the houses and temples of which are visible in the distance.

426 ETHIOPIAN MANUSCRIPT LECTERN 15TH-16TH CENTURY A.D. 25¼ in. (1.6 kg, 64 cm high).

A portable folding wrought iron-framed lectern with leather back and ledge. [No Reserve] £400 - 600

PROVENANCE Iconastas Gallery, Mayfair, London, UK, 2004. Ex central London gallery.

the final hammer

427

LIFE-SIZE BRONZE PORTRAIT BUSTS OF HISPANO-ROMAN EMPERORS

RAFAEL CIDONCHA, SPANISH, B.1952 A.D.

33½ - 35 in. (191.45 kg total, 85-89 cm including stand).

Four portrait bronze busts of Hispano-Roman emperors by Rafael Cidoncha, comprising Trajan, Hadrian, Theodosius and Arcadius, each signed 'R.C.' [4] £30,000 - 40,000

PROVENANCE

Acquired Christie's 13 July 2016, lot 122, for £42,500 hammer. From an important Paris gallery, France. Ex private Paris collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 11548-195312.

the final hammer price of each

428 RENAISSANCE STEPPING HORSE STATUETTE CIRCA 16TH CENTURY A.D. 7 in. (1.4 kg, 18 cm high including stand).

A bronze stallion modelled in the round with naturalistic anatomical detailing, right foreleg raised, reins resting over its neck; mounted on a 19th century double marble base.

£3,000 - 4,000

PROVENANCE French collection, 1990s-early 2000s.

From an important Paris gallery, France. Ex private Parisian collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no. 11549-194025.

LITERATURE Cf. The Metropolitan Museum, accession number 24.212.22, for a comparable equine figure.

FOOTNOTES Possibly after a model by Giambologna (1529-1608).

429 POLISHED GREEN STONE STATUE OF HERCULES LATE 19TH CENTURY A.D. 18¾ in. (9.8 kg total, 47.5 cm high including stand).

A polished serpentine figurine of Hercules standing nude with his right arm behind his back, bearded head inclined, left arm resting on a rocky pinnacle covered by the skin of the Nemean lion and with his club propped against it; separate stepped socle base; a miniature copy of the Farnese Hercules statue now in the Museo Archeologico Nazionale in Naples, itself a copy of a lost Greek bronze original.

£4,000 - 6,000

PROVENANCE Acquired Christie's, South Kensington, 18 July 2016, lot 42 for £4,375 hammer. From an important Paris gallery, France. Ex private Paris collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11550-195305.

LITERATURE See Bieber, M., The Sculpture of the Hellenistic Age, New York, 1961.

430

MOCHE SNARLING PAMPAS VESSEL

4TH-7TH CENTURY A.D.

8⅞ in. (924 grams, 22.5 cm wide).

A bichrome ceramic stirrup bottle in the form of a spotted feline, likely a pampas cat, couchant and snarling, tail wrapped around the front of the body, tongue protruding between sharp teeth and large ears pointing backwards. [No Reserve]

£1,000 - 1,400

PROVENANCE

Private U.K. family collection formed in the early 1970s.

The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The Metropolitan Museum, accession number 67.167.12, for a comparable example of a Moche feline; see Pimental, V., Peru, Kingdoms of the Sun and the Moon, 5 Continents, 2013, p.56, for another example of an attentive feline baring teeth.

FOOTNOTES

This beautiful vessel conveys a powerful image of the attentive feline with head turned to the viewer with teeth bared in a snarling and defensive position. Holding a ritual significance, images of large cats feature prominently within many cultures of the Pre-Columbian world with the jaguar being the largest, representing power and authority. The principle deity of the Moche was often represented displaying aspects of the jaguar, testament to the importance of the feline within the culture.

431

NAZCA DECORATED DIGNITARY VESSEL

CIRCA 4TH-6TH CENTURY A.D.

6½ in. (409 grams, 16.5 cm high).

A polychrome ceramic vessel with amorphous body and subrectangular head, stylised facial features and geometric design to the tunic with hands held to the abdomen; strap handle and tapering cylindrical spout to reverse. [No Reserve] £500 - 700

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. Ligaube, G., The World that Wasn't There, 5 Continents, 2016, p.286-293.

FOOTNOTES

This example is notable for finely modelled facial features and elaborate headdress set against the design of elaborate tunic.

432

ELABORATE NAZCA TROPHY HEAD GOURD VESSEL

2ND-6TH CENTURY A.D.

5½ in. (320 grams, 14 cm high).

A polychrome ceramic beaker vessel shaped roughly as a gourd with three bulbous tiers and a rounded base; a frieze of mythical creatures at the top, female faces below, projecting lobes around the bottom tier painted with more human faces, each with antler-like projections. [No Reserve]

£1,000 - 1,400

PROVENANCE Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. Sotheby's, Pre-Columbian Art, New York, November 1995, lot 8, for a similar example; see Ligaube, G., The World that Wasn't There, 5 Continents, 206, p.288, for a discussion of trophy head Nazca ware and a similar example of this type.

FOOTNOTES

The exact meaning of these elaborate vessels may never fully be understood, however Nazca mummified heads have been found indicating similar practices with cultures of the Amazon rainforest. In this highly decorative example, a mythical creature sits above a layer of faces sometimes referred to as baby faces or Nazca female faces with markings or tattooing to the cheeks. The faces below appear to be reaching out from the earth. Such vessels would have held significant ritual meaning.

For

addition to the final hammer price

paragraphs 19 & 26 of buyer's T&C's

433 MOCHE EROTIC STIRRUP VESSEL

2ND-5TH CENTURY A.D.

8¼ in. (651 grams, 21 cm wide).

A ceramic stirrup bottle with cuboidal body featuring a figural scene composed of a man and woman reclined on a rectangular bed, engaged in coitus, the woman holding a swaddled infant close to her; stylised anatomical detailing to each figure. [No Reserve]

£800 - 1,000

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE See Sotheby’s, Pre-Columbian Art, New York, May 1997, lot 209, for an almost identical example; Quilter, J., The Moche of Ancient Peru, Media and Messages, Peabody Museum Press, 2010, p.54, for a discussion of erotic Moche vessels.

FOOTNOTES

Subject of much conjecture, it has been suggested that Moche erotic vessels may have been produced as symbols of titillation or in some cases even humorous effect. Given the erotic vessel was a specific theme in the spectrum of Moche art, we can assume the importance of depicting sexual activity held a deeper meaning within the culture. It is notable that many vessels depict nonreproductive sex and may infer positions of power.

434

NAZCA FIGURAL TROPHY HEAD VESSEL

2ND-5TH CENTURY A.D. 5⅝ in. (410 grams, 14.5 cm high).

A polychrome ceramic bowl with rounded base; decorative geometric frieze around the rim, series of conjoined octopus head creatures around the upper body, stylised human trophy head below. [No Reserve]

£500 - 700

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE Cf. The Metropolitan Museum, accession number 1970.245.1 and 65.266.92, for a comparable vessel.

435 MOCHE HEAD VESSEL OF A LORD CIRCA 3RD-6TH CENTURY A.D. 6¼ in. (571 grams, 16 cm high).

A ceramic cup in the form of a male head, modelled wearing a headdress with geometric decoration and discoid ear spools. [No Reserve] £800 - 1,000

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

436 MOCHE VESSEL OF DIGNITARY HOLDING PUMA 5TH-7TH CENTURY A.D. OR EARLIER 6⅞ in. (578 grams, 17.5 cm high).

A ceramic stirrup bottle with polychrome pigmentation, formed as a seated figure supporting a feline on his lap, likely a puma, the figure wearing a cloak decorated with a geometric pattern and wearing an ornamental collar, discoid earrings and a cap or headdress; spots and stripes to the animal's fur. [No Reserve]

£600 - 800

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

See Quilter, J., The Moche of Ancient Peru, Media and Messages, Peabody Museum Press, 2010, pp.118-119; cf. The Metropolitan Museum, accession numbers 65.266.28, 1979.206.1113 and 64.228.41, for comparable examples dated 1st century B.C.-7th century A.D.

FOOTNOTES

This highly symbolic image of a dignitary holding a feline reflects the importance placed in Moche culture on such animals who symbolised power and authority. The small size of the cat in comparison to the larger dignitary conveys the importance of the individual who holds and harnesses the power of the puma.

437

FINE MOCHE LLAMA STIRRUP VESSEL

1ST-6TH CENTURY A.D.

8½ in. (531 grams, 21.5 cm long).

A bichrome ceramic stirrup vessel in the form of a llama, modelled standing with stylised anatomical features and saddled with panniers; Moche culture. [No Reserve] £500 - 700

PROVENANCE Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. Berrin, K. ed., The Spirit of Ancient Peru, Treasures From The Museo Archueologico Rafael Larco Herrera, Thames & Hudson, 1998, p.96, for similar; Miller, R., Art of the Andes, from Chavin to Inca, Thames and Hudson, 1994, p.116; Sotheby’s, Pre-Columbian Art, New York, May 1998, lot 2, for a further example.

FOOTNOTES

This attractive vessel conveys a sense of respect and admiration for the llama which was frequently depicted and would have served as a source of food, wool and transportation. In addition to this example, some vessels depict mother with calf, demonstrating a poignancy and deep connection to the llama.

438

MOCHE CANINE STIRRUP VESSEL

3RD-8TH CENTURY A.D. 7⅞ in. (555 grams, 20 cm wide).

A bichrome ceramic bottle in the form of a couchant animal, possibly a canine, with stylised facial and anatomical features and a piebald coat; strap handle between head and cylindrical neck with everted spout; possibly Moche; restored. [No Reserve]

£400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex.

Thence by descent to family members.

LITERATURE

Cf. The Metropolitan Museum, accession number 67.167.17, for similar.

8TH-14TH CENTURY A.D.

4⅜ in. (190 grams, 11 cm high).

A freestanding anthropomorphic ceramic vessel formed as a laughing or bellowing man, modelled nude with his upper arms gripped to the sides of his torso and lower arms wrapped around his stomach, resting partly on his elbows and partly on his feet which are drawn right up to his body, his large ovoid head thrown backwards, featuring stylised hair and facial detailing, with the vessel opening formed as his wide-open mouth; flag-like panel to his stomach. £200 - 300

PROVENANCE Private collection of Theodore Arbcus-Cooke (1910-1993). Private collection of a Cambridgeshire, UK, gentleman. Accompanied by an old cataloguing slip with collection reference number N10.

440

MOCHE STIRRUP VESSEL ADORNED WITH SNAILS

3RD-5TH CENTURY A.D.

8⅝ in. (709 grams, 22 cm high).

A bichrome ceramic stirrup vessel, the body formed as a mountainous backdrop to the cacti painted on the front and rear faces; tiers of three and four bulbous protrusions likely representing snails which featured on a number of vessels and Moche murals. [No Reserve] £500 - 700

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. Berrin, K. ed., The Spirit Of Ancient Peru, Treasures From The Museo Arqueologico Rafael Larco Herrera, Thames And Hudson, 1998, p.119, for similar.

439

NARINO ANTHROPOMORPHIC VESSEL

441

NAZCA FELINE STIRRUP-SPOUT VESSEL

3RD-6TH CENTURY A.D. 7⅝ in. (522 grams, 19.5 cm high).

A roughly spherical polychrome ceramic stirrup bottle, featuring two tapering cylindrical necks joined by a handle and decorated with two felines with four legs with exaggerated whiskers and eyebrows. [No Reserve] £400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE Cf. The Metropolitan Museum, accession number 67.167.42 and 64.228.68, for similar; Sotheby’s New York, Pre-Columbian Art, November 1997, lot 6, for an almost identical example.

442

DECORATED WARI VESSEL WITH MYTHICAL CREATURE

6TH-10TH CENTURY A.D. 6½ in. (484 grams, 16.5 cm high).

A polychrome figural ceramic bottle with cylindrical spout, human head modelled in-the-round wearing face paintings and a headdress, arms and hands held against the chest, slender feet to the lower edge; decorated with geometric motifs and a mythical creature to the chest; circular perforations to the neck, possibly for suspension; likely Wari or Nazca culture. [No Reserve] £400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

443

PARACAS GEOMETRIC DECORATED BOWL CIRCA 7TH-4TH CENTURY B.C. 7 in. (407 grams, 17.7 cm diameter).

A polychrome ceramic bowl with rounded base and incised geometric frieze possibly representing a stylised bird. [No Reserve] £300 - 400

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The Metropolitan Museum, accession number 62.266.18, for similar; cf. Christies, Pre-Columbian Art, New York, May 2007, for a similar example.

444

TLATILCO VENUS REDWARE SEATED FIGURE

8TH CENTURY B.C. OR EARLIER 9⅝ in. (819 grams, 24.5 cm high).

A large ceramic redware figure modelled seated with outstretched stub legs and arms, large head with stylised incised facial features and hair, with additional detailing to the arms and feet; repaired. £250 - 350

PROVENANCE

Private collection of Theodore Arbcus-Cooke (1910-1993). Private collection of a Cambridgeshire, UK, gentleman. Accompanied by an old ticket which includes provenance.

LITERATURE

Cf. Coe. M,, The Jaguar's Children: Pre-Classic Central Mexico, The Museum of Primitive Art, New York, 1965, p.101, for the type.

445

NAZCA TROPHY HEAD BOWL

CIRCA 3RD-6TH CENTURY A.D. 6½ in. (241 grams, 16.5 cm diameter).

A polychrome ceramic bowl with a carinated body and inverted rim, decorative frieze around the upper body displaying stylised trophy heads sporting feather headdresses. [No Reserve] £400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. Donnan, C., Ceramics Of Ancient Peru, Los Angeles, 1992, p.55, for a different vessel type decorated with a very similar motif; cf. Ligaube, G., The World that Wasn't There, 5 Continents, 2016, p.173, for an exact example of the pattern displayed on this bowl.

446

MEZCALA GREEN JADE STARGAZER FIGURE

MEZCALA, GUERRERO, 150 B.C.-250 A.D. 5 in. (6 in.) (465 grams, 12.5cm high (591 grams total, 15.5cm)).

A green jade figure depicted kneeling with hands held together in front of the chest, stylised facial features; accompanied by a custom-made display stand. £300 - 400

PROVENANCE

American collection of Dave DeRoche, San Francisco. with Tessier & Sarrou, Paris, 29 March 2017, lot 142, with lot label to the base. From an important Paris gallery, France. Ex private Parisian collection. Accompanied by a printout of the Tessier & Sarrou lot listing.

447

PRE-COLUMBIAN DECORATED BOWL

16TH CENTURY A.D. OR EARLIER 6⅛ in. (336 grams, 15.5 cm diameter).

A ceramic bowl decorated on the interior with polychrome swags, dashes and scalloped motifs. [No Reserve] £200 - 300

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

448

MOCHE FIGURINE RATTLE

3RD-6TH CENTURY A.D. 3½ in. (75 grams, 9 cm high).

A ceramic figure modelled standing naked, apart from an ornamental collar worn at the neck, a head covering and ear spools; circular perforation to the buttocks; Chimu culture. [No Reserve] £100 - 140

PROVENANCE Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The British Museum, museum number 2013,2011.4, for a comparable figure.

PARACAS GEOMETRIC BOWL WITH FELINES

CIRCA 5TH-3RD CENTURY B.C. 8¾ in. (469 grams, 21.7 cm diameter).

A polychrome ceramic bowl with rounded base, deep frieze around the upper body composed of incised geometric style felines. [No Reserve] £400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The Metropolitan Museum, accession number 64.228.124, for similar.

charges

Lot

in

to the final hammer price

& 26

T&C's

450

GEOMETRIC NAZCA VESSEL WITH STAIRWAY TO HEAVEN DESIGN

2ND-6TH CENTURY A.D. 2⅝ in. (76.5 grams, 67 mm wide).

A polychrome ceramic vessel composed of a squat body with plain medial band, panels populated with geometric forms above and below which may represent the 'stairway to heaven' motif; Nazca culture. [No Reserve] £100 - 140

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

451

NAZCA SNAKE BOWL

1ST CENTURY B.C.-7TH CENTURY A.D. 6½ in. (316 grams, 16.7 cm diameter).

A bell-shaped vessel with a rounded base and polychrome zoomorphic frieze displaying stylised twin-headed snakes arranged in geometric formation. [No Reserve] £300 - 400

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

See Ancient American Art, Scala, 2009, p.228, for a Nazca figure sporting a serpent on his chest.

FOOTNOTES

Likely an early example. 452

NAZCA ANTHROPOMORPHIC FELINE BOWL

1ST CENTURY B.C.-6TH CENTURY A.D. 4⅜ in. (121 grams, 11 cm diameter).

A polychrome ceramic bowl with tapering sidewall, everted rim and rounded base, decorated with an anthropomorphic animal, likely a feline with large whiskers, its tail and head emerging at opposite sides of the bowl, and a 'mythical' face to either side. [No Reserve] £100 - 140

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The British Museum, museum number Am1914,0731.12, for a comparable style of design.

453

PRE-COLUMBIAN GEOMETRIC JUGLET

16TH CENTURY A.D. OR EARLIER 3⅜ in. (138 grams, 8.5 cm high).

A polychrome ceramic juglet with integral handle, decorated with scallops, swags and pellets, dashed rim. [No Reserve] £100 - 140

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

PRE-COLUMBIAN BLACK WARE GEOMETRIC CORN VESSEL

15TH CENTURY A.D. OR EARLIER 5 18 in. (154 grams, 13 cm high).

A black ware bottle with piriform body and waisted cylindrical neck, incised rectangular panels likely representing corn, reaching downwards from the shoulder and upwards from the base, each with a hatched fill, possibly Chimu culture. [No Reserve] £200 - 300

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

FOOTNOTES

It is possible this vessel was intended to hold an offering of corn beer or chicha which held importance in Chimu and other Andean cultures.

455

CHANCAY FIGURINE PAIR

10TH-14TH CENTURY A.D. 7-7¼ in. (660 grams total, 18-18.5 cm high).

A pair of ceramic figures, each modelled standing with stub arms outstretched, wearing pierced headdresses and a crossed chest garment; stylised facial features. [2, No Reserve] £400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The Metropolitan Museum, accession numbers 1983.546.1 and 1979.206.933, for similar.

456

NAZCA BIRD VESSEL

CIRCA 2ND-5TH CENTURY A.D. 5⅝ in. (630 grams, 14.5 cm high).

A zoomorphic ceramic vessel composed of a carinated body with trumpet-style neck and strap handle; polychrome decoration comprising concentric bands to the body and stylised bird's face to the neck, with painted eyes and pinched beak. [No Reserve] £200 - 300

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

457

PRE-COLUMBIAN GEOMETRIC JUG

16TH CENTURY A.D. OR EARLIER 4½ in. (215 grams, 11.5 cm high).

A carinated ceramic juglet with integral handle and polychrome geometric design to the shoulder composed of chevrons, plain bands and dots. [No Reserve] £100 - 140

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

458

MOCHE FERTILITY FIGURE

CIRCA 3RD-5TH CENTURY A.D. 6 in. (303 grams, 15 cm high).

A ceramic fertility figure modelled as a female standing facing, hands clasping breasts, wearing a headdress adorned with a monkey head (or other animal), large earrings, a collar and tunic which ends at the hips, vagina below. [No Reserve]

£400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The British Museum, museum number Am1909,1218.2, for a comparable.

For charges payable in addition to the final hammer price of each Lot

paragraphs 19 & 26 of buyer's T&C's

459

PARACAS GEOMETRIC DISH CIRCA 5TH-4TH CENTURY B.C. 4⅝ in. (106 grams, 11.8 cm diameter).

A ceramic bowl decorated with a polychrome incised geometric rim; rounded base. [No Reserve] £100 - 140

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The Metropolitan Museum, accession number 63.232.100 and 1976.287.37, for similar.

460

PERUVIAN AND MOCHE VESSEL AND FIGURE GROUP CIRCA 16TH CENTURY A.D. AND EARLIER ⅙-4 in. (272 grams total, 15 mm-10 cm).

A mixed group of six mainly ceramic artefacts comprising: a figural whistle; a stone bead; two figural mounts; a bowl with lobed handles and geometric motif to the exterior; a vessel with bulbous body, cylindrical neck and pelletted chevron motif around the body; the figures are likely Moche culture. [6, No Reserve] £100 - 140

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. 461

CHIMU GREYWARE DOUBLE-SPOUTED VESSEL WITH BIRDS SPEARING FISH 10TH-15TH CENTURY A.D. 6¾ in. (354 grams, 17 cm high).

A greyware vessel composed of a double drum-shaped body with two conical spouts positioned at opposing angles, integral strap between, stylised bird to the outer edge of each; a diving bird catching a fish in relief to each body panel on both faces; splayed foot; some restoration. £200 - 300

PROVENANCE

Private collection of Theodore Arbcus-Cooke (1910-1993). Private collection of a Cambridgeshire, UK, gentleman. 462

PRE-COLUMBIAN GEOMETRIC TWO-HANDLED ARYBALLUS 16TH CENTURY A.D. OR EARLIER 4 in. (214 grams, 10 cm high).

A ceramic aryballus with two loop handles to the equator and broad, cylindrical neck, the upper body decorated with a polychrome motif composed of chevrons, pellets and plain bands; possibly Inca. [No Reserve] £150 - 200

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. 463

WARI MOTHER AND CHILD FIGURE 2ND CENTURY B.C.-3RD CENTURY A.D. 3⅜ in. (93 grams, 8.5 cm high).

A polychrome ceramic figure formed as a mother figure cradling an infant, the mother in a seated position with her legs stretched out before her body; both figures with stylised facial and anatomical detailing and with vertical striations painted on their faces; pierced through the arms; possibly a votive figure; Nayarit or Jalisco culture. [No Reserve] £200 - 300

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

464

CHANCAY FIGURAL JUGLET

10TH-15TH CENTURY A.D. 4 in. (157 grams, 10 cm high).

A bichrome ceramic juglet composed of a bulbous body, flared neck and rim and rounded base; stylised human face and hands to the shoulder and neck, holding and playing what is apparently a wind instrument; facial details highlighted in painted pigmentation, vertical strips around the body; small integral strap handle. [No Reserve] £100 - 140

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

465

PRE-COLUMBIAN ANIMAL PHIAL

3RD CENTURY B.C.-4TH CENTURY A.D. 4¼ in. (84 grams, 11 cm long).

A zoomorphic ceramic phial modelled in the round, standing on four stub legs, flared neck with two perforated handles at the base; stylised detailing to the animal's face; possibly Colima culture. [No Reserve] £150 - 200

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

466

PRE-COLUMBIAN DECORATED WHISTLE PENDANT

16TH CENTURY A.D. OR EARLIER

5⅛-9 in. (18-50 grams, 13-23 cm long).

A group of two items comprising: a ceramic pendant in the form of a whistle, geometric motifs painted to both faces, perforated lobe for suspension; a (possibly later) bead necklace composed of turquoise and other stone beads, including a pendant bead in the form of a bird. [2, No Reserve] £200 - 300

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

467

MOCHE PORTRAIT HEAD VESSEL

2ND-5TH CENTURY A.D. 6 in. (545 grams, 15 cm high).

A blackware ceramic vessel in the form of a male head wearing a conical cap and large, discoid ear ornaments, semi-naturalistic facial features and strap handle to reverse. [No Reserve] £400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

See Quilter, J., The Moche of Ancient Peru, Media and Messages, Peabody Museum Press, 2010, p.120, for a seated blackware Moche male and discussion of the production of black ware vessels within Moche and Chimu cultures; Parsons, L., Pre-Columbian Art, The Morton D. May and The Saint Louis Art Museum Collections, 1980, Harper and Row, p.270, no. 416, for a almost identical example.

468

NAZCA GEOMETRIC JUG

2ND-5TH CENTURY A.D. 4⅜ in. (303 grams, 11 cm high).

A ceramic jug with integral handle and carinated body, the upper half decorated with a polychrome stairway to heaven motif. [No Reserve] £100 - 140

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

to the final hammer price

469

PRE-COLUMBIAN DECORATED CUP

16TH CENTURY A.D. OR EARLIER 4⅜ in. (222 grams, 11 cm high).

A polychrome ceramic cup or other vessel with a roughly ovoid body, geometric patterns painted around the rim and to one side of the exterior; possibly a zoomorphic representation; gold-coloured flecks in the clay. [No Reserve] £150 - 200

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

470

NAZCA GEOMETRIC STORAGE VESSEL

8TH CENTURY A.D. OR EARLIER 8⅞ in. (842 grams, 19.5 cm high).

A polychrome ceramic storage vessel with integral handle, broad cylindrical neck and carinated body, decorated with a geometric scheme. [No Reserve] £300 - 400

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. 471

MOCHE RITUAL CONCH SHELL VESSEL

4TH-7TH CENTURY A.D. 10⅞ in. (618 grams, 27.5 cm high).

A bichrome ceramic stirrup vessel decorated with a frieze of geometric motifs to the lower body, circumferential band above with a conch shell around the shoulder. [No Reserve] £300 - 400

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

See Pimental, V., Peru, Kingdoms of the Sun and the Moon, 5 Continents, 2013, p. 104, for a discussion on the importance of spondylus shells in Andean culture and the possibility of trade in exotic items from Ecuador.

FOOTNOTES

Positioned near coastal waters, the Moche relationship to the sea resulted in the production of a variety of vessels representing or portraying different shells. Given no stringed instruments were found pre conquest, it is likely the conch was used as an instrument for religious and ceremonial use.

472

CHAVIN BLACK WARE GOURD VESSEL

9TH-2ND CENTURY B.C. 8⅝ in. (684 grams, 22 cm high).

A black ware vase in the form of a gourd with long neck and mottled surface featuring small creatures, possibly representing fish swimming. [No Reserve] £400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

FOOTNOTES

A very interesting example.

MOCHE STIRRUP VESSEL OF A DIGNITARY

2ND-5TH CENTURY A.D.

8½ in. (596 grams, 21.5 cm high).

A bichrome ceramic stirrup bottle in the form of a seated dignitary figure modelled with one hand resting on his knee, the other held to his breast, wearing a cloak and headdress; pierced through the nostrils. [No Reserve] £500 - 700

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The Metropolitan Museum, accession number 64.228.36, for similar.

FOOTNOTES

This fine example shows the finery of a Moche dignitary with fancy headdress, cape and motifs on the arms.

474

ELEGANT CHAVIN BLACK WARE STIRRUP VESSEL

10TH-3RD CENTURY B.C.

8⅝ in. (750 grams, 22.5 cm high).

An elegant and early black ware stirrup vessel with bulbous body, decorated with triangular forms and pecked zones. [No Reserve] £300 - 400

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. Miller, R., Art of the Andes, from Chavin to Inca, Thames and Hudson, 1994, p.49, no.36, for a very similar example; cf. Burger, R., Chavin and the Origins of Andean Civilization, Thames and Hudson, 1995, p.139, no.133, for a close example.

FOOTNOTES

This artist of this elegant vessel may have achieved the mottled effect by applying a serrated sea shell on the surface and moving it back and forth, applying pressure to the surface.

475

CHIMU PARROT WHISTLE VESSEL

10TH-15TH CENTURY A.D.

7⅞ in. (620 grams, 20 cm wide).

A ceramic whistle vessel comprising two bulbous bodies with a waisted bridge between; plain cylindrical neck to one, a cylindrical neck with stylised parrot head to the other, strap handle between; Peru. [No Reserve]

£500 - 700

PROVENANCE

Private U.K. family collection formed in the early 1970s.

The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. The British Museum, museum number, Am1980,03.77, for very similar.

FOOTNOTES

In the Pre-Columbian world, exotic birds were revered with the strong belief of their connection to deities. Brightly coloured feathers were used to adorn priests and other high ranking individuals.

476

PRE-COLUMBIAN BIRD POURING VESSEL

3RD CENTURY B.C.-7TH CENTURY A.D.

6⅜ in. (333 grams, 16 cm width).

A polychrome ceramic pouring vessel or whistling vessel with a roughly barrel-shaped bowl and flared rim, spout formed as a bird with stylised feather, eye and beak detailing, hollow formed with narrow circular perforation in the beak; opening between bowl and bird is low down on the bowl wall; bowl decorated with a geometric frieze around the rim; multiple flecks of what is likely gold in the clay; possibly Recuay or Nazca culture. [No Reserve] £300 - 400

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

477

CHAVIN BLACK WARE FISH BOWL

11TH-15TH CENTURY A.D. OR EARLIER 7¼ in. (477 grams, 18.5 cm diameter).

A ceramic bowl with squat, D-section wall, inverted rim and kick-up to base; geometric frieze to exterior, two stylised leaping fish in relief to interior base, possibly Chimu or Inca. [No Reserve] £300 - 400

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

478

CHIMU BLACKWARE MONKEY STIRRUP VESSEL

9TH-15TH CENTURY A.D. 8⅝ in. (480 grams, 22 cm high).

A blackware stirrup vessel with a squat, carinated body and monkey to one arm of the neck, the upper body with a deep decorative band of raised pellets. [No Reserve] £400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE Cf. The Metropolitan Museum, accession number 1979.206.1116, for similar; see Pimental, V., Peru, Kingdoms of the Sun and the Moon, 5 Continents, 2013, p.56, figure 4, for a further example of Chimu blackware depicting a monkey.

FOOTNOTES

With a preference for the production of black ware, this beautiful work is in keeping with other Chimu vessels which depict the monkey in different poses including seated eating corn or pictured together with other deities.

479

CHANCAY DECORATED FLASK

10TH-15TH CENTURY A.D. 8⅞ in. (633 grams, 22.5 cm high).

A bichrome ceramic flask composed of a bulbous body and hemispherical neck with inverted rim, flanked by two strap handles, rounded base; decorated with geometric motifs on both faces of the body, around the neck and on the handles. [No Reserve] £200 - 300

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE Cf. Donnan, C., Ceramics Of Ancient Peru, Los Angeles, 1992, p.100, fig.192, for a comparable example.

480

NAZCA BOWL WITH ARROW DESIGN 4TH-6TH CENTURY A.D. OR EARLIER 5⅝ in. (255 grams, 14.5 cm diameter).

A ceramic 'bell-shaped' bowl with rounded base, the exterior decorated with a polychrome geometric scheme including arrows. [No Reserve] £200 - 300

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

481

CHIMU BLACK WARE GEOMETRIC VESSEL

9TH-15TH CENTURY A.D. 6⅞ in. (532 grams, 17.5 cm high).

A black ware vessel of roughly capsule form, cylindrical neck and everted rim, decorated with two crescentic panels of recessed geometric bands. [No Reserve] £200 - 300

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE

Cf. Minneapolis Institute of Art no 77.56.5, for a close example of the type.

482

MOCHE GEOMETRIC STIRRUP VESSEL

2ND-5TH CENTURY A.D. 8½ in. (709 grams, 21.5 cm high).

A bichrome ceramic stirrup vessel composed of a squat, domed body decorated with geometric motifs. [No Reserve] £400 - 600

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

483

CHIMU TOUCAN-HANDLED VESSEL

11TH-15TH CENTURY A.D.

8¼ in. (604 grams, 21 cm high).

A black ware vessel with lentoid-section body and trumpet-style neck, handle formed as a stylised toucan or parrot, decorative lobes to the body; possibly Chimu or Sican culture. [No Reserve] £500 - 700

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

LITERATURE Cf. Sotheby's, Pre-Columbian Art, May 1996, lot 220, for an example of a Chimu bird or toucan vessel.

484

NAZCA GEOMETRIC VESSEL

15TH-16TH CENTURY A.D. OR EARLIER 7⅛ in. (377 grams, 18 cm diameter).

A polychrome ceramic vessel, possibly a cup or dish, with integral loop handle; decorative geometric motifs around the body and dashes to the rim; possibly Inca culture. [No Reserve] £200 - 300

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

485

CHIMU BLACK WARE VESSEL

15TH-17TH CENTURY A.D. 5⅞ in. (371 grams, 15 cm high).

A black ware bottle with bulbous body, cylindrical neck with inverted rim and strap handle; possibly Chimu culture. [No Reserve] £100 - 140

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

486

PRE-COLUMBIAN GEOMETRIC BOWL

15TH CENTURY A.D. OR EARLIER 4⅜ in. (154 grams, 11 cm diameter).

A polychrome ceramic bowl with a D-section sidewall, the upper body decorated with a circumferential band and vertical bands creating panels filled with geometric designs; two circular perforations to the shoulder for attachment or suspension. [No Reserve] £150 - 200

PROVENANCE

Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members.

487

LATE INCA POLYCHROME WOODEN KERO

15TH-16TH CENTURY A.D. 7½ in. (998 grams, 19 cm high).

A very large wooden kero decorated using pigmented resin inlay to depict a frieze of figures and birds within panels created by ribbons radiating from masks, medial band of geometric forms, floral motifs below; cleaned and conserved. £600 - 800

PROVENANCE

Acquired 1960s-1970s. Jan Pelles / Lyngbye collection. Senatus Consulto, Denmark, 2010. Ex private collection of Mr N.J., Leicester, UK.

LITERATURE

See Geiger, G., At the Heart of Pre Columbian America, 5 Continents, Milan, 2003, p.216, no. 175, for a kero of similar design.

FOOTNOTES

These early colonial drinking cups display a combination of Spanish influence in the depiction of figures and flowers while retaining the indigenous preference for geometric design.

488

AZTEC CARVED TILE GROUP

CIRCA 14TH-16TH CENTURY A.D. ⅛ - 8½ in. (505 grams total, 13-21.5 cm).

A trio of ceramic tiles decorated with figural scenes, including Lords addressing their attendants with glyphs representing noble speech; the remains of 19th century printed descriptive fragments adhering to some surfaces; possibly Aztec culture. [3] £600 - 800

PROVENANCE

From a 19th century collection based on the descriptive fragments. French collection, 1990s-early 2000s. From an important Paris gallery, France. Ex private Parisian collection.

489

MAYAN ARENA TORCH HEAD

15TH CENTURY A.D. OR EARLIER 11½ in. (15.2 kg, 29 cm wide).

A carved sandstone head with detailing to the hairline and stylised facial features, showing high cheekbones, deeply recessed almondshaped eyes, slender nose and jutting chin with mouth low-down on the face, held slightly ajar; reverse with angled base and three sockets above.

£500 - 700

PROVENANCE

Acquired 1970s onwards. Private collection of Michael O'Hara (d. 2021), Cambridgeshire, UK.

490

490

FOSSIL CLAUDIOSAURUS SKELETON

LATE PERMIAN-EARLY TRIASSIC PERIOD, CIRCA 252-250 MILLION YEARS B.P.

17 in. (12.2 kg, 43 cm).

A fossil Claudiosaurus sp. skeleton in a matrix. £2,000 - 3,000

PROVENANCE

From Madagascar.

From a Cambridgeshire, UK, collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11551-195800.

FOOTNOTES

It is theorised that this was a semi-aquatic, lizard-like dinosaur.

491

FOSSIL KEICHOUSAURUS SKELETON

TRIASSIC PERIOD, CIRCA 250 MILLION YEARS B.P.

10¼ x 7⅝ in. (1.63 kg, 27.5 x 19.5 cm).

A complete fossil Keichousaurus hui in a rectangular matrix. £800 - 1,000

PROVENANCE

From Xingyi, Guizhou, China.

Acquired 1950s-1960s.

From an old Bristol paleontological collection.

FOOTNOTES

Keichousaurus was a late-Triassic marine reptile and a member of the Pleurosaur family. It went extinct 250 million years ago during the TriassicJurassic extinction event. They were specialised fish eaters, and were highly unusual amongst marine reptiles in that they gave birth to live young rather than laying eggs.

492

FOSSIL KEICHOUSAURUS SKELETON

TRIASSIC PERIOD, CIRCA 250 MILLION YEARS B.P.

12½ x 8½ in. (2.79 kg, 31.7 x 21.5 cm).

A complete fossil Keichousaurus hui in a rectangular matrix. £1,000 - 1,400

PROVENANCE

From Xingyi, Guizhou, China. Acquired 1950s-1960s. From an old Bristol paleontological collection.

FOOTNOTES

Keichousaurus was a late-Triassic marine reptile and a member of the Pleurosaur family. It went extinct 250 million years ago during the TriassicJurassic extinction event. They were specialised fish eaters, and were highly unusual amongst marine reptiles in that they gave birth to live young rather than laying eggs.

final hammer

493

LARGE MOSASAUR FOSSIL JAW PLAQUE

CRETACEOUS PERIOD, 145-65 MILLION YEARS B.P. 17¾ in. (12 kg, 45 cm).

A number of fossil mosasaur jaw sections with at least 13 teeth, in a matrix with a plaster base. £400 - 600

PROVENANCE

From a Cambridgeshire, UK, collection.

FOOTNOTES

The Mosasaur is an extinct, large marine reptile dinosaur with a snake-like body, long snout and paddle-like limbs. Found worldwide, they competed with other well-known sea predators of the Late Cretaceous, such as plesiosaurs and ichthyosaurs, for food, existing primarily on a diet of ammonoids, cuttlefish and fish.

494

FOSSIL STINGRAY IN MATRIX

CRETACEOUS PERIOD, 145-65 MILLION YEARS B.P. 6⅞ in. (1.2 kg, 17.5 cm).

A rectangular sedimentary matrix displaying a superb fossil Cyclobatis major stingray specimen. £1,000 - 1,400

PROVENANCE

From Lebanon. From a Cambridgeshire, UK, collection.

FOOTNOTES

The Cyclobatis stingray, or 'sun fish' is so called due to the radial arrangement of its pectoral fins.

495

LARGE POLISHED FOSSIL GONIATITE DISPLAY DEVONIAN PERIOD, 417-354 MILLION YEARS B.P. 22½ in. (29 kg, 57 cm high).

A large, freestanding fossil display comprising three large polished Goniatite sp. fossils, together with an Orthoceras sp. fossil. £300 - 400

PROVENANCE

From a Cambridgeshire, UK, collection. 496

FOSSIL HYPHALOSAURUS SKELETON CRETACEOUS PERIOD, CIRCA 122 MILLION YEARS B.P. 9⅝ in. (9⅞ x 6¾ in.) (223 grams, 24.3 cm (448 grams total, 25 x 17 cm including case)).

A rectangular matrix containing a Hyphalosaurus lingyuanesis fossil skeleton; held in a display box and accompanied by an information sheet. [No Reserve] £300 - 400

PROVENANCE

From a Lincolnshire, UK, collection.

FOOTNOTES

Hyphalosaurus means 'submerged lizard' and was a genus of freshwater aquatic reptiles that resembled miniature plesiosaurs. It was an active predator that captured small prey animals like arthropods and fish with a sideways strike, similar to modern crocodiles.

497

FOSSIL FISH AND LOBSTER IN MATRIX

CRETACEOUS PERIOD, 145-65 MILLION YEARS B.P. 16⅛ in. (4.5 kg, 41 cm).

A sub-rectangular matrix displaying a fossil lobster, possibly Pseudostacus hakeliensis, together with a fossil fish, possibly Rhinobatos sp., each showing some good detail. £1,000 - 1,400

PROVENANCE

From Lebanon.

From a Lincolnshire, UK, collection.

498

FOSSIL TORTOISE SHELL

OLIGOCENE PERIOD, CIRCA 34-23 MILLION YEARS B.P. 8⅝ in. (4 kg, 22 cm).

A Stylemys sp. fossil land tortoise carapace. £500 - 700

PROVENANCE

From a Lincolnshire, UK, collection.

499

FOSSIL CRAB

EOCENE PERIOD, 56-33 MILLION YEARS B.P. 4⅞ in. (528 grams, 12.4 cm).

The majority of a fossil crab, together with a matrix fragment. £400 - 600

PROVENANCE

From a Lincolnshire, UK, collection.

500 NORTH AFRICAN T-REX FOSSIL DINOSAUR TOOTH

CRETACEOUS PERIOD, 145-93 MILLION YEARS B.P. 4 in. (77 grams, 10.1 cm).

A large fossil tooth from the dinosaur Carcharodontosaurus saharicus (African T-Rex), with remains of enamelling and serration. £500 - 700

PROVENANCE

From a Cambridgeshire, UK, collection.

FOOTNOTES

The Carcharodontosaurus saharicus was one of the largest predators of all time (larger than its distant North American T-Rex cousin) and is related to Allosaurus and the South American Giganotosaurus.

Bidder/Buyer Terms and Conditions

1.Interpretations and Definitions: the following terms generally apply within these Terms and Conditions; other terms are defined within specific sections following: Auctioneer – the firm TimeLine Auctions Ltd (“TimeLine” hereafter) or its authorised auctioneer, acting as Agent for the Seller.

TimeLine is a company registered in England and Wales (company no: 06873501) with registered office at 40 Kilmarnock Drive, Luton, LU2 7YP, UK. The website and telephone number are https://timelineauctions.com and ++44 (0) 1277 815121.

Agent – a person or body acting on behalf of another.

ALR – Art Loss Register - All lots with an upper estimate value of £1,000 and above and all ancient Western Asiatic lots are searched against the Art Loss Register database.

Auction – a sale event whether taking place live in real-time or of extended duration (Timed Auction).

Bid – a sum offered by a Bidder to purchase the Lot.

Bidder – the person offering a Bid.

Buyer – the Bidder who the Lot is Knocked Down to.

Buyer’s Premium – the percentage of the Hammer Price payable by the Buyer to TimeLine in accordance with clause 19.

CITES - Convention on International Trade in Endangered Species.

Data Protection Legislation –all applicable data protection and privacy legislation in force from time to time in the UK including the General Data Protection Regulation ((EU) 2016/679) (83) (GDPR); the Data Protection Act 2018; the Privacy and Electronic Communications Directive 2002/58/EC (as updated by Directive 2009/136/EC) and the Privacy and Electronic Communications Regulations 2003 (SI 2003/2426) as amended, and any and all applicable national data protection laws made under or pursuant to the GDPR, as may be amended or superseded from time to time.

Date of Sale – the date on which the Auctioneer Knocks Down the Lot. Group – any Lot comprising more than one item.

Hammer Price – the amount of the winning bid when Knocked Down by the Auctioneer to a Bidder.

Knock(ed/ing) Down – the act of the Auctioneer in bringing the Hammer down to complete the contract for the sale of the Lot to the Bidder submitting the highest bid. Lot – the goods for sale.

Purchase Price – the total sum due for any Lot, including the Hammer Price, the Buyer’s Premium, any internet bidding fees, any shipping charges, taxes, duties or any other costs payable to TimeLine.

Registered Bidder –a Bidder who has registered with TimeLine for the purpose of taking part in any Auction. Reserve Price –the minimum Hammer Price at which a Lot may be Knocked Down.

Seller – the person offering the Lot for sale.

Title – legal rights of ownership of the Lot.

2.Application: the singular includes the plural and vice versa and any reference to ‘he’, ‘she’ or ‘it’ applies to all of them.

3.Basis of Contract:

a.These Terms and Conditions apply to the exclusion of any other terms that the Bidder/Buyer seeks to impose or incorporate, or which are implied by trade, custom, practice or course of dealing.

b.Each Buyer is required to carefully read the Terms and Conditions before offering a bid. When a Buyer makes a bid he/she acknowledges that he/she has read, understood and accepted these terms.

c.TimeLine does not act for or give advice to Bidders/Buyers.

4.Dimensions, weights and colour: all dimensions and weights (including ring sizes) are approximate and are for general guidance only; a single dimension given is normally the greatest dimension for the piece(s). Although TimeLine have made

every effort to precisely display the colours and condition of a Lot, TimeLine does not guarantee that a device displays them accurately. The Lot may vary slightly from those images.

5.Condition: A condition statement for lots is not given in the catalogue, printed or on-line. This does not infer that any lot is free from faults and prospective bidders must satisfy themselves entirely as to the fullcondition of each piece before placing bids. Condition Reports may be requested for any lot but are given only for general guidance and are inevitably subjective in character. Requests for Condition Reports should be made as early as possible; requests received at a late time may not be available before the lot is offered.

Bidders are encouraged to carefully examine in person any Lot(s) for which they intend or do Bid for. It is not possible to note all marks or defects and neither TimeLine or the Auctioneer make any guarantee as to the physical quality or condition of any Lot(s).

6.Dating: dates may be given in several forms, as examples below:

527 AD - an item that bears a date upon it or that can otherwise be dated with precision;

6th century AD - an item that can be dated with considerable confidence to a specific period;

Circa 6th century AD - an item that can be approximately dated by comparison with other pieces;

Probably 6th century AD - an item that is likely to be of this period in the light of similar pieces;

Possibly 6th century AD - an item that might be of this period by comparison with items of a broadly similar character; and Undated - no date is known or suggested for the piece.

6th Century AD or later – an item is dated to a specific period but may also be a revival of style of a later date.

7.Attributions: works of art attributions may be given in several forms, as examples below:

Signed – a work bearing the signature of the named artist;

Attributed to – a work of the period of the artist which may be in whole or in part the work of the artist named;

Circle of – a work of the period of the artist and showing his influence;

Follower of – a contemporary or nearly so work executed in the style of the artist; Manner of – a work executed in the style of the artist but of a later date; and After – a copy of any date of a work of the artist.

8.Other Descriptive Matters: some other words or phrases are used descriptively, as examples below:

Style - an item made in the style of an earlier age but thought to be probably of later date.

Archaistic - an item made in the style of a much earlier age;

Grand Tour - an item usually of some age but in the style of an earlier age;

After the Antique - an item made as a reproduction, usually of quite modern date; and

Faux - used descriptively when the material used is probably imitative in character.

9.Lots including Archaeological or Cultural Property: a UK export licence from the Department for Digital, Culture, Media and Sport, is required for Lots originating from UK soil or territory leaving the UK and for such Lots of non-UK origin when leaving the EU. TimeLine will make applications for the necessary Cultural Property Export Licence as a ‘free of charge’ service to Buyers, where the Export Licence is legally required. If a Buyer requests for TimeLine to apply for an Export Licence where this is not legally required, an additional fee of £24 (VAT inclusive) will be invoiced to the Buyer. Buyers are advised to check concerning any Regulations applicable in their country

of residence regarding importation and to enquire prior to bidding. The deferment of any Export Licence shall not be reason to cancel any bid nor to delay payment.

10.Lots including materials from Endangered Species: Buyers are responsible for obtaining a CITES licence when required for the export from the UK of any item(s) made of or containing materials such as ivory, tortoiseshell, rhinoceros horn, whalebone, etc.

11.Import Licences: Buyers are responsible for checking and ensuring compliance with any regulations applicable in their country of residence regarding importation.

12.Copyright: all cataloguing text, images and other material published by TimeLine whether physically or electronically is the property of TimeLine and may not be reproduced, stored in any retrieval system or otherwise transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written consent of TimeLine.

13.General Conduct of Auction: TimeLine shall have absolute discretion as to lots offered for sale, lots withdrawn and the conduct of any Auction. TimeLine shall have absolute discretion to refuse entry, decline bids and expel any person from the Auction whether present in person or by agent or proxy or attending by way of any electronic media or telecommunications.

14.Viewing: all Lots are available to view. All prospective Bidders are advised to view any Lot(s) prior to bidding and the Bidder must form their own opinion before bidding. Public viewing arrangements will be advised in advance of the Date of Sale and private viewing can be arranged at the TimeLine premises by appointment.

15.Lot Descriptions: all Lots are offered ‘as seen’ and ‘as is’ and are available for inspection. The Buyer is obligated to make all and any enquiries he wishes as to the accuracy and authenticity of any sale description (including Condition, Dating and Attributions, as set out in clauses 5-7).The principle of caveat emptor applies except where expressly excluded by operation of law. While materials (such as catalogues) are vetted by an external committee of experts, TimeLine do not make or give any guarantee, warranty or representation or undertake any duty of care in relation to the description, illustrations or photographs of any Lot, including condition, quality, provenance, authenticity, background, style, period, age, origin, value and estimated selling price. TimeLine undertakes no obligation to examine, investigate or carry out any tests either in sufficient depth or at all to establish the accuracy or otherwise of any description or opinions given by TimeLine whether in the catalogue or elsewhere. Lots comprising Groups are sold strictly subject to them not being returnable for any reason whatsoever; the provisions set out under clause 43 are specifically excluded in respect of such Lots. For coins that have been authenticated, graded and encapsulated ('slabbed') by an independent grading company, no guarantee of any kind is offered by TimeLine. Buyers should note that removal or attempted removal from any slab will immediately void any independent guarantee that might have been offered by that grading company.

16.Condition Reports: All Lots are available for inspection. TimeLine will provide a report on the physical condition of any Lot on request. Bidders should note that reports are provided as a free service to interested Bidders. Descriptions therein are not warranties and all Lots are offered ‘as seen’ and ‘as is’.

17.Estimates: estimates are for general guidance only and Lots may sell outside their indicated range(s). Bidders must make their own assessment as to the value of any

Lot and conduct their bidding accordingly.

18.Reserves: Lots may be subject to a Reserve Price set by the Seller, at a level not exceeding the low estimate, below which bids cannot be accepted; TimeLine reserves the right to bid on behalf of a Seller, up to the amount of any Reserve Price.

19.Buyer’s Premium: the Buyer’s Premium is 30% of the Hammer Price [inclusive of VAT] for all successful Bidders. Use of the TimeLine Auctions online inhouse bidding service is free of additional charge. For those using any other internet bidding platforms, the provider’s normal charges at up to 6% (inclusive of VAT) will be payable by the Buyer in addition to the Buyer’s Premium.

20.Registration and Bidding: all prospective Bidders must register their personal details with TimeLine before bidding and a Bidder Number will be allocated for their use in relation to a specific sale; prospective Bidders will be asked to provide proof of identity and address. TimeLine reserves its right to refuse any Bidder or any Bid at its discretion. A deposit in accordance with clause 27 may be required before accepting any Bid(s). The Bidder Number must be shown by Bidders to the Auctioneer when placing a bid and by the successful Bidder when the Lot is Knocked Down. The auctioneer shall conduct the Auction at his sole discretion for all matters, accept Bids from any source and may exercise bids on behalf of absent Bidders or on behalf of Sellers up to any Reserve Price. Bidding shall be in pounds sterling only and generally in accordance with the increments set out below:

a. £0 to £99 – in increments of £5 b. £100 to £199 – in increments of £10 c. £200 to £499 – in increments of £20 d. £500 to £999 – in increments of £50 e. £1000 to £1999 – in increments of £100 f. £2000 to £4,999 – in increments of £200 g. £5000 to £9,999 – in increments of £500 h. £10000 to £19,999 – in increments of £1,000 i. £20000 to £49,999 – in increments of £2,000 j. £50000 to £99,999 – in increments of £5,000 k. £100,000 to £249,999 – in increments of £10,000 l. £250,000 and up – in minimum increments of £20,000

21.Absentee Bidding/Auto Bidding: Registered Bidders may leave absentee/auto Bids in advance of a live Auction directly through the TimeLine website or in writing by mail, email, fax or other delivery means and will be automatically exercised at the Reserve Price or at one bid increment above any competing Bid up to the submitted maximum Bid amount.

22.Commission Bidding: while Bidders are advised to attend the Auction and to bid in person, TimeLine will accept written instructions in advance of a live Auction from a Registered Bidder to personally execute bids on behalf of the Bidder up to a stated maximum. Unlimited bids or bids to ‘buy’ will not be accepted. In the event of identical bids being received from more than one Bidder, the earliest received will have priority. TimeLine offers this as a free service for live Auctions but] no liability is accepted for any errors in bidding or in the event that a Bid is not placed. A deposit may

be required In accordance with clause 27.

23.Internet Bidding: live, real-time bidding is available to Bidders through the TimeLine website for all live Auctions. Bidders intending to use any other internet bidding service must Register in advance with that service and the provider’s normal charges at up to 6% (VAT inclusive) will be payable in addition to the Buyer’s Premium. It is entirely the responsibility of the Bidder using any bidding service to ensure that Bids are made accurately; Bids cannot be retracted once made and are binding on the Bidder in all circumstances. TimeLine are not responsible for any technical or other failure which results in Bids not being received.

24.Telephone Bidding: facilities for telephone bidding are available at live Auctions at the discretion of TimeLine for Bidders on Lots with a low estimate in excess of £250 and must be booked and confirmed in advance. It is a condition for acceptance by TimeLine of any telephone bidding request that the Bidder undertakes to execute a minimum Bid at the low estimate sum. TimeLine offers telephone bidding as a free service but no liability is accepted for any errors or in the event that a connection cannot be made or is interrupted before the Lot is Knocked Down.

25.Agents: all Bidders making Bids through any means shall be deemed to be acting as principal in their bidding and shall be directly and fully liable for all Bid amounts, Buyer’s Premium and any other charges or costs. If any prospective Bidder wishes to appoint a person to bid on their behalf, then this must be agreed and authorised in writing by TimeLine in advance of the Auction. A deposit may be required in accordance with clause 27.

26.Value Added Tax: VAT is charged on an inclusive basis, under the Auctioneer’s Margin Scheme on all Buyer's Premiums and other charges. For some items, such as investment gold, modern jewellery and gemstones, where marked with a ‘dagger’ (†) symbol, VAT on the Hammer Price will be payable in addition. Where import duties are payable, these lots are marked with symbols ‡ Ω at the corresponding rates.

27.Deposits: Timeline reserves the right to request a deposit in certain circumstances. The amount of the deposit will be set by Timeline. If a Bid is not placed the deposit will be paid back within a reasonable timeframe after the close of the auction. In case of a successful bid, the deposit will be reduced from the Purchase Price payable by the Buyer.

28.Payment: the Purchase Price becomes due and payable when the Lot is Knocked Down by the Auctioneer. Requests and Statements detailing the purchase information will be sent out by email or post; Bidders may be telephoned or otherwise contacted when payment is not received promptly or where there are queries in any respect.

a.The full Purchase Price must be paid in Pounds Sterling and can be made by bank transfer (for transfers from outside the UK, subject to payment of an additional £10 overseas bank transaction fee), by cash up to the value of £7,000, by cheque from a UK bank (subject to clearance) or by bank debit card or credit card (up to a maximum of £500). It is the responsibility of the Buyer to ensure that TimeLine receives the correct amount payable.

b. Unless agreed by TimeLine in writing in advance of the Auction, the Buyer must pay the Purchase Price in full in cleared funds to TimeLine by no later than 4.30pm on the third working day following the Date of Sale. In case of delayed payment, clause 32 applies.

29.Title, Risk and Insurance: Title to any Lot is retained by the Seller until the Purchase Price and all other sums payable by the Buyer have been paid in full in cleared funds to TimeLine; at this point, Title

will transfer from the Seller to the Buyer. Risk for the Lot passes to the Buyer at the time the Lot is Knocked Down to the Bidder. TimeLine does not hold property insured after the Lot has been Knocked Down.

30.Collection of Lots and Storage: Once the Buyer has paid the Purchase Price in full, TimeLine will release the Lot to the Buyer for collection. The Buyer must collect, or arrange the collection of, all purchases from the location advised by TimeLine by 4.30pm on the seventh working day following the Date of Sale.

TimeLine may provide the Buyer with a quotation and contact details for the services of Mail Boxes Etc on TimeLine documentation (any storage/shipping contract is between the Buyer and Mail Boxes Etc). The Buyer may arrange a service of their choice for collection, packing and shipping services. Lots not collected by the seventh working day following the Date of Sale will be moved to storage at a transfer cost of £20 plus VAT per Lot and storage charges will thereafter be applied at the rate of £1.90 plus VAT per Lot per day until collected; no Lots may be removed/released to the Buyer until all storage and transfer costs have been paid in full. In the event that the accrual of storage charges reaches 50% of the Hammer Price paid or after the expiration of three months from the transfer date, whichever occurs first, Timeline reserve the right to re-sell any and all Lots stored without notice and in any manner at their sole discretion and to apply any proceeds in defrayment of such costs. The Buyer will be entitled to receive any credit balance above the amount of the costs on request but will remain liable for any deficit.

31.Delivery by TimeLine: at the absolute discretion of TimeLine, TimeLine may, on request, directly arrange delivery of certain Lots to the address registered to the Buyer, on payment by the Buyer to TimeLine of any advised handling and delivery charge.

32.Remedies for Buyer’s Failure to Make Payment and/or Remove Lots: if the Purchase Price and/or all sums payable are not paid in full when they fall due and/or the Lot is not removed in accordance with these terms, TimeLine may without further notice to the Buyer be entitled to exercise one or more of the following rights:

a.To terminate the agreement immediately for breach of contract;

b.To retain possession of the Lot;

c.To remove and/or store the Lot at the Buyer’s expense, as detailed at clause 30at a cost to the Buyer of £20 + VAT for the transfer per Lot plus a daily cost of £1.90 plus VAT per Lot for the storage;

d.To take legal proceedings against the Buyer for payment of any sums due to TimeLine by the Buyer;

e.To be paid interest on any monies due to TimeLine at the annual rate of 8% per annum from time to time to be calculated on a daily basis from the date upon which such monies became payable until the date of actual payment;

f.To sell the Lot without a Reserve Price at Auction or by any other means and apply any proceeds against the amount owing by the Buyer to TimeLine;

g.To apply any monies received from the Buyer in payment or part payment of any sums due from the Buyer to TimeLine under these terms;

h.To refuse to allow the Buyer to register for a future Auction or to reject a bid from the Buyer at a future Auction.

33.Limitation of Liability: The Auctioneer has obtained insurance cover in respect of its own legal liability for individual claims.

The limits and exclusions in this clause reflect the insurance cover the Auctioneer has been able to arrange and the Buyer is responsible for making his own arrangements for the insurance of any excess loss.

Timeline will under no circumstances be liable to the Buyer, whether in contract, tort

(including negligence), breach of statutory duty, or otherwise, arising under or in connection with the contract for: a.any loss of profits, sales, business or revenue

b.loss of business opportunity c.an indirect or consequential loss.

Our total liability to you for all losses arising under or in connection to the contract, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, will in no circumstances exceed £500.

Nothing in the Contract limits any liability which cannot legally be limited, including but not limited to liability for: a.death or personal injury caused by negligence; b. fraud or fraudulent misrepresentation; and c. breach of the terms implied by section 12 of the Supply of Goods and Services Act 1979 (title and quiet possession).

This clause 33 shall survive termination of the Contract.

34.Buyer’s Indemnity: the Buyer agrees to indemnify TimeLine on a full indemnity basis against all legal and other costs, all losses and expenses incurred as a result of TimeLine taking steps under clause 33.

35.Use of your personal information: TimeLine will only use the Seller’s personal information as set out in their privacy policy. TimeLine may amend this policy from time to time. Where Timeline processes any personal data, it will comply with the requirements and obligations under the Data Protection Legislation.

36.Anti-Money Laundering: TimeLine’s Anti-Money Laundering Policy sets out TimeLine’s policy for ensuring compliance anti-money laundering legislation that applies to some of TimeLine’s activities. TimeLine may amend this policy from time to time.

37.Sale of Goods Act: The terms implied by sections 13 to 15 of the Sale of Goods Act 1979 are, to the fullest extent permitted by law, excluded.

38.Severance: If any provision or partprovision of these terms and conditions is or becomes invalid, illegal or unenforceable, it shall be deemed modified to the minimum extent necessary to make it valid, legal and enforceable. If such modification is not possible, the relevant provision or partprovision shall be deemed deleted. Any modification to or deletion of a provision or part-provision under this clause shall not affect the validity and enforceability of the rest of the terms and conditions.

39.Amendments: TimeLine may amend these Terms and Conditions from time to time. Please check our website for our latest terms and conditions.

40.No waiver: No failure or delay by TimeLine to exercise any right or remedy provided under the these Terms and Conditions or by law 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.

41.Third-Party rights: These Terms & Conditions are between Timeline and a Seller. No other person shall have any rights to enforce any of these terms.

42.Governing Law: these terms and conditions and any dispute or claim arising out of or in connection with them or their subject matter or formation (including noncontractual disputes or claims) shall be governed by, and construed in accordance with, the law of England and Wales.

43.Jurisdiction: the Bidder irrevocably agrees that the courts of England and Wales shall have exclusive jurisdiction to settle any dispute or claim arising out of or

in connection with these terms and conditions or its subject matter or formation (including non-contractual disputes or claims). At the sole discretion of TimeLine, the auctioneer may instigate any proceedings within the jurisdiction of the bidder's country of residence.

44.Disputes: in the event that the Buyer has any dispute in relation to any Lot, not being a Lot described as a Group, Collection or other term indicating that the lot comprises more than one object, (such lots being sold cannot be returned in accordance with clause 15), which has been sold, that dispute must be notified to TimeLine in writing within 14 days following the Date of the Sale in order that TimeLine can hold the proceeds pending resolution of the dispute.

In the event of deliberate forgery being claimed for any Lot, the Buyer shall submit two opinions in writing from recognised experts for consideration; the inability of different experts to agree shall not be sufficient grounds. No liability is accepted by TimeLine for any costs/losses of the Buyer, including but not limited to fees, shipping, loss of profit, consequential costs or any other matters beyond the Hammer Price and Buyer's Premium. In all cases, any item must be returned to TimeLine, strictly in the condition it was in at the date of the sale being held; Buyers are advised that any form of destructive examination or testing undertaken will result in claims being rejected; claims resulting from results of tests under a scientific process not generally accepted for use at the Date of the Sale or which were unreasonably expensive in relation to the estimates for the lot or impractical or likely to have caused damage to the Lot at the Date of the Sale will not be allowed.

TimeLine will have no liability to the Buyer after a period of 14 days as then TimeLine will release monies and make payments to Sellers.

45. Import restrictions: Auction lots (or individual item/s within any given lot) of either Persian or Iranian origin are subject to United States trade restrictions which currently prohibit their import into the US, without exception. Buyers should be aware that similar (or other) restrictions may apply to other categories of items offered for sale. It is the sole responsibility of the buyer to satisfy themselves that any lot/s purchased at auction can be legally imported into the desired shipping destination prior to bidding.

Seller’s Terms and Conditions

1.Interpretations and Definitions: the following terms generally apply within these Terms and Conditions; other terms are defined within specific sections following: Auctioneer – the firm TimeLine Auctions Ltd (“TimeLine” hereafter) or its authorised auctioneer, acting as Agent for the Seller. TimeLine is a company registered in England and Wales (company no: 06873501) with registered office at 40 Kilmarnock Drive, Luton, LU2 7YP, UK. The website and telephone number are https://timelineauctions.com and +44 (0) 1277 815121.

Agent – a person or body acting on behalf of another.

ALR – Art Loss Register - All lots with an upper Estimate value of £1,000 and above and all ancient Western Asiatic lots are searched against the Art Loss Register database.

Auction – a sale event whether taking place live in real-time or of extended duration (Timed Auction).

Bid – a sum offered by a Bidder to purchase the Lot.

Bidder – the person offering a Bid.

Buyer – the person who the Lot is Knocked Down to.

Date of Sale – the date on which the Auctioneer Knocks Down the Lot.

Data Protection Legislation –all applicable data protection and privacy legislation in

force from time to time in the UK including the General Data Protection Regulation ((EU) 2016/679) (83) (GDPR); the Data Protection Act 2018; the Privacy and Electronic Communications Directive 2002/58/EC (as updated by Directive 2009/136/EC) and the Privacy and Electronic Communications Regulations 2003 (SI 2003/2426) as amended, and any and all applicable national data protection laws made under or pursuant to the GDPR, as may be amended or superseded from time to time.

Estimate – the estimate for any Lots as set out in the Property Receipt.

Group – any Lot comprising more than one item.

Hammer Price – the amount of the winning bid when Knocked Down by the Auctioneer to a Bidder.

Knock(ed/ing) Down – the act of the Auctioneer in bringing the Hammer down to complete the contract for the sale of the Lot to the Bidder submitting the highest bid.

Lot – the goods for sale.

Net Proceeds-the Hammer Price less the Selling Commission and any charges or expenses levied at Timeline’s discretion in accordance with these Terms and Conditions.

Purchase Price – the total sum due for any Lot, including the Hammer Price, the Buyer’s Premium, any internet bidding fees, any shipping charges, taxes, duties or any other costs payable to TimeLine.

Reserve Price – the minimum Hammer Price at which a Lot may be Knocked Down Seller – the person offering the Lot for sale.

Selling Commission – the sum due to TimeLine from the Seller in accordance with clause 10.

Timed Sale –in relation to an unsold Lot, a 28 day timeframe to allow a sale post Auction in accordance with clause 15.

Title – legal rights of ownership of the Lot. Unsold Fee – 6% (VAT inclusive) of the Reserve Price.

Withdrawal Fee – the fee payable to TimeLine in the event the Seller withdraws a Lot in accordance with clause 14, which shall be 6% (VAT inclusive) of the low Estimate or Reserve Price, whichever is higher.

2.Application: the singular includes the plural and vice versa and any reference to ‘he’, ‘she’ or ‘it’ applies to all of them.

3.Basis of Contract:

a.These terms and conditions apply to the exclusion of any other terms that the Seller seeks to impose or incorporate, or which are implied by trade, custom, practice or course of dealing.

b.Each Seller is required to read the terms and conditions attached to the Property Acceptance/Receipt and acknowledges that he/she has read, accepted and acknowledged the terms of such attachment, in advance of signing the same.

c.As auctioneer, TimeLine acts solely for, and in the interest of, the Seller.

4.Copyright: all cataloguing text, images and other material published by TimeLine (including in relation to any Lot) whether physically or electronically is the property of TimeLine and may not be reproduced, stored in any retrieval system or otherwise transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written consent of TimeLine. Timeline does not guarantee that a device accurately displays the colours and condition of a Lot.

5.Rights to Photographs, Illustrations and Documents: the Seller grants to Timeline full and absolute right to photograph or illustrate any Lot and to use such photographs or illustrations, and any photographs, illustrations or documents provided by the Seller, at any time and at TimeLine’s absolute discretion (whether or not in connection with any Auction).

6.Title, Risk and Insurance: Title to any Lot is retained by the Seller until the Purchase Price and all other sums payable

by the Buyer have been paid in full in cleared funds to TimeLine; at this point, Title will transfer from the Seller to the Buyer. Risk for the Lot passes to the Buyer at the time the Lot is Knocked Down to the Bidder. TimeLine does not hold any Lot insured after the Lot has been Knocked Down.

7.Seller’s Representations and Warranties: in submitting any Lot for sale, the Seller warrants and represents to TimeLine the matters set out in the Property Acceptance/Receipt and Seller’s statement of provenance. The Seller will be asked to provide proof of identity and address.

8.Limitation of Liability: The Auctioneer has obtained insurance cover in respect of its own legal liability for individual claims. The limits and exclusions in this clause reflect the insurance cover the Auctioneer has been able to arrange and the Seller is responsible for making his own arrangements for the insurance of any excess loss.

Timeline will under no circumstances be liable to the Seller, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, arising under or in connection with the Contract for:

a.any loss of profits, sales, business or revenue;

b.loss of business opportunity; and c.an indirect or consequential loss.

TimeLine’s total liability to the Seller for all losses arising under or in connection to the Contract, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, will in no circumstances exceed £500.

Nothing in these terms and conditions limits any liability which cannot legally be limited, including but not limited to liability for: a.death or personal injury caused by negligence; b. fraud or fraudulent misrepresentation; and

c. breach of the terms implied by section 12 of the Supply of Goods and Services Act 1979 (title and quiet possession).

This clause 8 shall survive termination of the Contract.

9.Seller’s Indemnity: the Seller shall indemnify and hold TimeLine harmless from all claims and all direct, indirect or consequential losses (including loss of profits, loss of business, depletion of goodwill and similar losses), costs, proceedings, damages and expenses (including legal and other professional fees and expenses) awarded against or incurred or paid by TimeLine as a result or in connection with:

a.any breach of the warranties referred to in clause 7;

b.any claim made against TimeLine concerning the authenticity of any Lot; c.any alleged or actual infringement, whether or not under English law, of any third party’s Intellectual Property Rights or other rights arising out of the Auction or sale of the Lot.

10.Selling Commission: The standard rate of selling commission payable to TimeLine shall be 18% of the Hammer Price (VAT inclusive).

11.Additional Charges: TimeLine may levy additional charges regarding:

a.Collection of goods from Seller’s premises, storage of goods submitted for sale by a Seller and storage of Lots unsold in accordance with clause 15;

b.Further charges at the discretion of TimeLine on advance warning to the Seller for any unusual research, special or additional imaging, testing, consultation with external specialists, conservation, cleaning or other services concerned with presenting the Lot, including VAT or other taxes or duties as applicable.

c.All items submitted for sale in the 'Western Asiatic' category (other than items

designated as 'style') and all lots over £1000 will incur an administration charge of £6.00 (VAT inclusive) per item for additional checking, including searches against the ALR.

12.Lots: all goods submitted to TimeLine will be lotted, catalogued and offered by live auction sale, limited timed auction sale, 'buy it now' direct sale or other method at the sole discretion of TimeLine; antiquities, antiques and collectables Lots with a low Estimate of £200 or less and coin Lots with a low Estimate of £100 or less will not normally be illustrated in any printed catalogue and printed text entries may be minimised (images and full text will always be shown on the TimeLine website); Estimates are provided for information only and Hammer Prices may differ from the estimated range.

13.Reserve Price: The Seller may set a Reserve Price on any Lot where the low Estimate exceeds £120 subject to agreeing that an Unsold Fee will become payable to Timeline for any such Reserved Lot which fails to sell; in addition the Seller agrees that the auctioneer may accept a bid received at one bid increment or 10% of the Reserve Price (whichever is higher) below the Reserve Price sum if necessary to sell the Lot.

14.Withdrawal of Lots: Once entered for sale, Lots may be withdrawn by the Seller only upon the agreement of TimeLine and payment to TimeLine of the Withdrawal Fee; a Withdrawal Fee will also be payable should any post-Sale offer be received in accordance with clause 14 but not accepted by the Seller. TimeLine reserves the absolute right to withdraw any Lot from sale for any reason in which circumstance no Withdrawal Fee will be payable. The Seller is thereafter responsible for collection of any Lot which has been withdrawn and clause 15 applies.

15.Unsold Lots and Storage: in the event that a Lot is not sold no Selling Commission is payable unless the Lot was subject to a Reserve Price in which case a sum of 6% (VAT inclusive)of the Reserve Price is payable by the Seller to TimeLine. TimeLine shall retain possession of unsold Lots for a period of twenty-eight days from the date of any Auction for entry into any Timed Sale or against the possibility of receiving post-Sale offers for such Lots. The Seller is thereafter responsible for collection of any unsold goods immediately after this period and Lots will be released after any charges due have been paid in full. Lots not removed by 4.30pm on the seventh working day after the due date will be moved to storage at a transfer cost of £20 plus VAT per Lot and storage charges will thereafter be applied at the rate of £1.90 plus VAT per Lot per day until collected; no Lots may be removed until any storage or other amounts due to TimeLine have been paid in full. In the event that the accrual of storage charges reaches 50% of the Reserve Price or after the expiration of three months from the transfer date, whichever occurs first, Timeline reserve the right to re-sell any and all Lots stored without notice and in any manner at their sole discretion and to apply any proceeds in defrayment of such costs. The Seller will be entitled to receive any credit balance above the amount of the costs on request but will remain liable for any deficit.

16.Payment to Sellers: the Net Proceeds of the Auction will become due and payable to the Seller 30 days following the Date of Sale provided that TimeLine have received cleared payment of the Purchase Price in full from the Buyer.

17.Use of your personal information: TimeLine will only use the Seller’s personal information as set out in their privacy policy. TimeLine may amend this policy from time to time. Where Timeline processes any personal data, Timeline will comply with the requirements and obligations under the Data Protection Legislation.

18.Anti-Money Laundering: TimeLine’s Anti-Money Laundering Policy sets out TimeLine’s policy for ensuring compliance with anti-money laundering legislation that applies to some of TimeLine’s activities. TimeLine may amend this policy from time to time.

19.Sale of Goods Act: The terms implied by sections 13 to 15 of the Sale of Goods Act 1979 are, to the fullest extent permitted by law, excluded.

20.Severance: If any provision or partprovision of these terms and conditions is or becomes invalid, illegal or unenforceable, it shall be deemed modified to the minimum extent necessary to make it valid, legal and enforceable. If such modification is not possible, the relevant provision or partprovision shall be deemed deleted. Any modification to or deletion of a provision or part-provision under this clause shall not affect the validity and enforceability of the rest of the terms and conditions.

21.Amendments: TimeLine may amend these Terms and Conditions from time to time. Please check our website for our latest terms and conditions.

22.No waiver: No failure or delay by TimeLine to exercise any right or remedy provided under the these Terms and Conditions or by law 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.

23.Third-Party rights: These Terms & Conditions are between Timeline and a Seller. No other person shall have any rights to enforce any of these terms.

24.Governing Law: these terms and conditions and any dispute or claim arising out of or in connection with them or their subject matter or formation (including noncontractual disputes or claims) shall be governed by, and construed in accordance with, the law of England and Wales.

25.Jurisdiction: each party irrevocably agrees that the courts of England and Wales shall have exclusive jurisdiction to settle any dispute or claim arising out of or in connection with these terms and conditions or its subject matter or formation (including non-contractual disputes or claims).