African & Oceanic Art, Antiquities and Natural History

AFRICAN & OCEANIC ART, ANTIQUITIES & NATURAL HISTORY 5TH MAY 2021 EDINBURGH LIVE ONLINE

AFRICAN & OCEANIC ART, ANTIQUITIES & NATURAL HISTORY WEDNESDAY 05 MAY 2021 AT 11AM Sale Number LT639

CONTACT EDINBURGH +44 (0) 131 557 8844 info@lyonandturnbull.com

Front Cover Lot 193 [detail] Inside Front Cover Lot 235 [detail]

VIEWING BY APPOINTMENT

BIDDING AT THIS SALE

Individual lots can be viewed strictly by appointment at 33 Broughton Place Edinburgh EH1 3RR on Friday 30th April & Tuesday 4th May, 10am-4pm

ONLINE, TELEPHONE & COMMISSION BIDDING

To book please call Juliette Behr on 0131 557 8844 or email juliette.behr@lyonandturnbull.com

Please see the guide to bidding on page 136

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BUYER'S GUIDE

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website).

If you have not bought before we will be delighted to help you.

BUYER’S PREMIUM

REGISTRATION

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

25% up to £300,000 / 20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT

1 – Government issued photo ID (Passport/Driving licence)

†V AT at the standard rate payable on the hammer price

2 – Proof of address (utility bill/bank statement).

‡R educed rate of 5% import VAT payable on the hammer price ΩS tandard rate of import VAT on the hammer price Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

No VAT is payable on the hammer price or premium for books bought at auction.

DROIT DE SUITE § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk

We may, at our option, also ask you to provide a bank reference and/ or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

BIDDING & PAYMENT For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell.

Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www. defra.gov.uk/ahvla-en/imports-exports/ cites COLLECTION OF PURCHASED LOTS Due to social distancing requirements, all collections will be by appointment only (this applies to both carriers and personal collections).

BOOK ONLINE www.lyonandturnbull. com/appointment-bookings CALL 0131 557 8844

CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction.

There will be no public viewing for this auction, our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice.

Please note we are unable to take payments over the phone.

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MEET THE SPECIALISTS At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

ALEX TWEEDY Head of Sale alex.tweedy@lyonandturnbull.com

JULIETTE BEHR Sale Administrator juliette.behr@lyonandturnbull.com

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ORDER OF SALE Lot No.

1-20

Above Lot 90 [detail]

WEDNESDAY, 5TH MAY 2021 AT 11AM Natural History

21-118

Antiquities

119-223

African Art

224-263

Aboriginal & Oceanic Art

264-270

Asianl Art

271-275

North & South American Art

276-285

Arctic Art

286-303

Modern African Art

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1 STRAIGHT TUSKED ELEPHANT VERTEBRAE SECTION, ELAPHAS ANTIQUUS EARLY PLEISTOCENE, 780,000 - 40,000 YEARS B.P. a section of three vertebrae, presented on a bespoke mount 37cm long Provenance: Dunecht House, Aberdeenshire, Hon. Charles Pearson, son of Viscount Cowdray, within the family for over one-hundred years, possibly gifted by the Scottish geologist, botanist, palaeontologist, Hugh Falconer (1808 - 1865).

Christie’s. The Cowdray Sale: Works of Art from Cowdray Park and Dunecht House.

15th September 2011, lot 1138. Please note, the piece is incorrectly described as a cast - it has subsequently been examined by leading experts and confirmed as genuine.

£500-700

2 WOOLLY RHINOCEROS JAWBONE NORTH SEA, PLEISTOCENE a partial jawbone from a woolly rhinoceros, Coelodonta antiquitatis 20.2cm long Provenance: Dredged from the North Sea by a Dutch fishing vessel.

£250-350

3 CRINOID SEA LILY FOSSIL MOROCCO, 400 MILLION YEARS B.P. with fine detail to the calyx and stem 31cm x 42cm

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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4 LARGE WOOLLY MAMMOTH TUSK, MAMMUTHUS PRIMIGENIUS SIBERIA, PLEISTOCENE C. 80,000 - 10,000 YEARS B.P. a large and fine mammoth tusk, polished 89cm long

£7,000-10,000

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5 CRINOID PLAQUE CRAWFORDSVILLE, USA, CARBONIFEROUS PERIOD, 300 MILLION YEARS B.P. the plaque with multiple species and excellent detail of the crinoid crowns and stalks 14.5cm x 20.5cm

£300-500

6 MULTIPLE FOSSIL CRINOIDS, JIMBACRINUS BOSTOCKI AUSTRALIA, EARLY PERMIAN, 280 MILLION YEARS B.P. Jimbacrinus bostocki, six specimens set within the matrix 44.8cm across

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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7 FINE GAR FISH FOSSIL GREEN RIVER FORMATION, USA, LOWER EOCENE PERIOD, 50 MILLION YEARS B.P. a large and fine fossil plaque featuring Lepisosteus simplex, Priscacara liops and Knightia eocaena specimens 74cm x 125.5cm Note: An exceptionally well-preserved specimen of Lepisosteus simplex. Large and impressive, Lepisosteus simplex (commonly known as a gar) is among the rarest types of fossil fish uncovered at the Green River Formation.

A prehistoric hunter, gar fossils are occasionally found with remains of smaller species of the Green River within them. They appear to have preferred the thick reed beds of the shallows rather than deep water.

Unusually they also possessed the ability to breathe both air and water, to this day modern gar species surface to take gulps of air. Dating to as early as the Cretaceous, the comparative lack of change in this species has led to it sometimes being referred to as a living fossil.

£3,000-5,000

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8 KEICHOUSAURUS FOSSIL PLAQUE CHINA, TRIASSIC PERIOD, 230 MILLION YEARS B.P. a finely preserved Keichousaurus hui, set within a slate matrix 31.8cm x 24cm (incl. matrix)

£500-800

9 FOSSIL SHARK TOOTH, OTODUS MEGALODON SOUTH CAROLINA, MIOCENE PERIOD, 15 MILLION YEARS B.P. a tooth from Otodus megalodon with intact serrations at the base 14cm long

£600-900

10 PHAREODUS FISH FOSSIL PLAQUE GREEN RIVER FORMATION, USA, LOWER EOCENE PERIOD, 50 MILLION YEARS B.P. a finely preserved Phareodus testis fish, set within a limestone matrix and surrounded

by Knightia eocaena specimens 54.5cm x 71cm

£1,000-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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11 LARGE NAUTILUS SPECIMEN MADAGASCAR, MIDDLE CRETACEOUS C. 110 MILLION YEARS B.P. beautifully preserved specimen of a Cymatoceras sakalavus with excellent chamber definition 13.5cm diameter

£400-600

12 GREEN RIVER FISH PLAQUE GREEN RIVER FORMATION, USA, LOWER EOCENE PERIOD, 50 MILLION YEARS B.P. a well preserved Cockerellite liops specimen within a limestone matrix 30.3cm x 30cm (incl. matrix)

£300-500

13 TRILOBITE FOSSIL, ODONTOCHILE SP, MOROCCO, DEVONIAN PERIOD, 400 MILLION YEARS B.P.

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a superbly preserved trilobite Odontochile sp. specimen

HARAGAN FORMATION, OKLAHOMA, USA, ORDOVICIAN PERIOD

specimen measures 10.8cm

Boedaspis ensifer, entirely separate from the matrix, superb detail

£300-500

SPINY TRILOBITE FOSSIL

19cm long (incl. matrix)

£300-500

15 ARCHAEOGERYON CRAB FOSSIL ARGENTINA, MIOCENE PERIOD, 20 MILLION YEARS B.P. a fine example, fully three dimensional 19.5cm diameter (incl. matrix)

£300-500

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16 LARGE SEPTARIAN NODULE MADAGASCAR, MIDDLE TO LATE JURASSIC, 175 - 145 MILLION YEARS B.P. with a hollow cavity containing black calcite crystals 23.1cm tall

£400-600

17 SPECIMEN OF LAPIS LAZULI AFGHANISTAN deep blue, cut and polished, with thin veining 19.1cm tall

£300-500

18 TRIO OF FOSSILISED WOOD SPECIMENS JAVA, INDONESIA, MIOCENE PERIOD, 10 MILLION YEARS B.P. cut and polished, all with all-over cream and rust colour, the smaller with a black seat and veining around the perimeter (3) 43cm

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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19 LARGE CAMPO DEL CIELO METEORITE ARGENTINA a large iron and nickel meteorite 17.5cm diameter, weight 5.33kg

£2,000-3,000

20 CHELYABINSK CHRONDRITE METEORITE

Note: The Campo del Cielo impactor is believed to have fallen to Earth in what is now northern Argentina around 4,200–4,700 years ago. Its age is estimated to be 4.5 billion years, having formed around the time of the development of the Solar System. Of considerable size, around 100 tonnes have been recovered in modern times. However, its presence appears to have been known in antiquity. In 1576, the Spanish governor in the area commissioned a search party to hunt for the huge mass of iron, which he had learned that native peoples used for their weapons, claiming the mass had fallen from the sky at a site they called “the field of heaven”.

CHELYABINSK OBLAST, RUSSIA, 2013 meteoric iron length 2.2cm Note: On 15th February 2013, a small asteroid entered the Earth’s atmosphere over Russia, with an estimated speed of 41,000 miles per hour. At around 50 times the speed of sound, a huge, brilliant fireball was formed, brighter than the sun and bright enough to cause moving shadows on the ground, as it tracked across the sky. Due to its enormous velocity, the meteor exploded many times over Chelyabinsk at a height of about 15 miles. The explosions ripped the meteor apart, reducing the massive object into thousands of small, pea-sized meteorites, which were lost in the snow in and around Deputaskiy village. Some seconds after the explosions, the pressure wave reached the ground, causing damage to people and property. A high brick wall of a factory was knocked down, and hundreds of windows were blown in, with up to 1500 residents being injured by flying glass. The event was captured on many car dashboard cameras and the videos quickly became worldwide news.

£150-250

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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ANTIQUITIES Above Lot 38 [detail]

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21 ALEXANDER THE GREAT SILVER TETRADRACHM GREECE, AMPHIPOLIS MINT, 325 - 323 B.C. hammered silver, struck under Antipater, head of Herakles wearing a lionskin, the reverse with an image of Zeus enthroned 2.5cm diameter, 17.18g Provenance: Private collection, United Kingdom, acquired at Spink & Son, London

£400-600

22 HELLENISTIC GOLD DISK PENDANT EASTERN MEDITERRANEAN, 1ST CENTURY A.D. hammered gold, circular pendant with integral loop. an outer border of repoussé strand encircling six cross motifs and an inner repoussé circle, convex centre 8.2cm diameter Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£1,000-1,500

23 ANCIENT CYPRIOT BOTTLE CYPRUS, 600 - 450 B.C. terracotta and painted pigment, sitting on a flat circular base, the globular body leading to a short neck and trefoil mouth painted with eyes at the sides to evoke the shape of a bird’s head, the body adorned with a lotus flower and trailing leaves in red and umber 16.5cm high Provenance: Cyprus Museum of Jacksonville, North Carolina, USA, accompanied by old collection label Publications: Takey Crist, The Cyprus Museum (Nicosia, 2005), p.11 Exhibited: The Cyprus Museum, Jacksonville, North Carolina, 1988-2018

£600-900

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24 ATTIC BLACK FIGURE KYLIX GREECE, EARLY 5TH CENTURY B.C. painted pottery, standing on a disk foot, with deep bowl and dual stem handles, the exterior painted with scenes of grazing deer amidst predators and swooping birds 29cm diameter Provenance: Private collection, United States

£2,000-3,000

25 GNATHIAN WARE HYDRIA SOUTHERN ITALY, C. 3RD CENTURY B.C. fired and glazed terracotta, with two side handles and strap handle, the everted rim with etched floral decoration, the body with vertical ribbing and leading to a flaring foot 42.5cm tall Provenance: Private collection, Sussex, United Kingdom, acquired before 1956

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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The Cyclades, an archipelago in the southwestern Aegean,

over one thousand years. Their exact use is unclear, some

comprises thirty-nine small islands and many more islets.

resemble fertility figures encountered across the Near East.

In ancient Greek they were referred to as the kyklades,

Others have been interpreted as images of the deceased or

envisioned as a circle (kuklos) around the sacred island of

servants for the afterlife. It is clear however that they were

Delos, home to the most sacred temple of Apollo.

used in both funerary contexts and day-to-day ritual life, as

In the fourth millennium B.C. a distinctive culture emerged

some have been found with ancient repairs.

in the islands which ran for over two thousand years. Sitting

Though they are today notable for their minimalist

at a favourable location in the Aegean sea and rich in mineral

appearance, scientific analysis has shown that the surface of

resources, in particular iron ores and copper, the inhabitants

the marble would originally have been painted with mineral-

of the Cyclades benefitted from the trade in these raw

based pigments, azurite for blue and iron ores or cinnabar for

materials at a time when metallurgy was developing rapidly

red. Many of the figures show a remarkable similarity in their

across the Mediterranean. Existing largely tangentially with the great civilisations of the Minoans and Mycenaeans, Cycladic people are counted among the three major Aegean cultures.

It was the Cycladic people who produced the very first masterpieces of

proportions, suggesting that the production of these idols was regulated using a type of early compass.

The sense of abstraction offered by ancient Cycladic art stimulated many of the great twentieth century artists, including Brancusi, Modigliani, and Picasso. The present piece

Greek marble sculpture.

is a wonderful example of

“Idols” such as the

the type, though carved

present example were

over four thousand years

spread throughout the

ago its geometric appeal

archipelago, with the

remains distinctly modern.

tradition of carving such figures lasting for well

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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26 CYCLADIC IDOL HEAD CYCLADES, EARLY CYCLADIC II, C. 2600 - 2400 B.C. carved marble, the head upon a broad cylindrical neck, the smooth facial plane with a convex form, bending back as if gazing upwards, with gently rounded chin and central rectangular nose, raised on a bespoke mount 11.5cm tall Provenance: Private collection, Switzerland, acquired January 1992 Private collection, London Please note that this piece is accompanied by an Art Loss Register Certificate dated to the 9th May 2005.

£15,000-25,000

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27 TEPE HISSAR IDOL CENTRAL ASIA, C. 2300 - 1900 B.C. carved marble, the female figure of geometric form, standing on a flat base, the arms and legs denoted by triangular projections, the neck and head formed as a cylinder 14.5cm high Provenance: Private collection, United Kingdom, accompanied by an Interpol certificate

£7,000-9,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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28 KILIA “STARGAZER” HEAD ANATOLIA, BRONZE AGE II C. 2700 - 2500 B.C. carved marble, the head turned upwards upon a slender neck, the facial features reduced to a smooth facial plane with a central ridge nose and triangular ears, raised on a bespoke mount 5.6cm tall Provenance: Private collection, United Kingdom

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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29 HELLENISTIC AGATE NECKLACE WITH GOLD PENDANT EASTERN MEDITERRANEAN, 3RD - 1ST CENTURY B.C. comprised of tubular banded agate beads, spherical carnelian beads and collared gold spacers, with a central gold pendant inset with carnelian 50cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,000-3,000

30 HELLENISTIC GARNET, AGATE AND GOLD BEAD NECKLACE EASTERN MEDITERRANEAN, 3RD - 1ST CENTURY B.C. comprised of carved and polished garnet spherical beads parted by oblate spheroid gold beads, with five large tubular agate beads 52.8cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,500-3,500

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31 HELLENISTIC SUN PENDANT NECKLACE EASTERN MEDITERRANEAN, 3RD - 1ST CENTURY B.C. spherical beads of garnet and gold, interspersed with larger gold beads in the form of pomegranates, with a central sun shaped pendant inlaid with garnet and malachite in a gold setting 45cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,500-3,500

32 HELLENISTIC NECKLACE WITH CABOCHON PENDANT EASTERN MEDITERRANEAN, 3RD - 1ST CENTURY B.C. comprised of polished garnet beads spaced by smaller spherical garnet and gold beads with a central cabochon pendant encased by a gold surround with granulated detailing 48cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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33 ANCIENT EGYPTIAN FAIENCE BOTTLE

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EGYPT, LIKELY DYNASTY XVIII, C. 1550 - 1292 B.C.

SHABTI EGYPT, LATE PERIOD C. 664 - 332 B.C.

faience, standing on a flat base, of elegant rounded form with a fluted rim and single loop handle

faience, shown in mummiform, with crossed arms holding a hoe and pick, wearing the tripartite wig and beard, with a full frontal column of hieroglyphics, raised on a mount

7.5cm high Provenance: Private collection, United Kingdom, acquired prior to 1984, accompanied by an Interpol certificate

£1,500-2,000

15.5cm tall Provenance: Private collection, United Kingdom, acquired 1980s

£150-250

35 ANCIENT GREEK ALABASTRON GREECE, C. 6TH CENTURY B.C. carved and polished Egyptian alabaster standing on a rounded base with an elegant cylindrical body with dual banded incisions at the shoulders, narrowing at the neck, flaring into a trumpet rim, presented on a bespoke mount 18cm tall Provenance: From the collection of Tyll Kroha, 1970s, accompanied with German export licence

£1,000-1,500

36 PHOENECIAN GLASS “EYE” INLAY LEVANT, EARLY - MID 1ST MILLENNIUM B.C. cast glass, with an amber coloured central circle bordered by alternating white and black rings 8cm diameter Provenance: Private collection, United Kingdom, assembled 1965-2018

£1,000-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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37 SIX ANCIENT EGYPTIAN GLASS MOSAIC TILES EGYPT, PTOLEMAIC TO ROMAN PERIOD, 1ST CENTURY B.C. TO 1ST CENTURY A.D. inlaid glass, comprising; four tiles portraying the god Ra as a falcon on a black background, inlaid with bands of green, red, yellow and blue; two tiles with actors’ masks, the larger a caneworked bead, perforated for attachment (6) largest 1.9cm x 1.8cm Provenance: Private collection, United Kingdom

£1,500-2,500

38 ROMANO-EGYPTIAN TRIPLE TEARDROP NECKLACE EGYPT, C. 1ST - CENTURY B.C. TO 1ST CENTURY A.D. comprised of red glass beads interspersed with spherical gold beads, with three large teardrop-shaped glass pendants at the centre 47cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,000-3,000

39 WESTERN ASIATIC NECKLACE NEAR EAST, 1ST MILLENNIUM B.C. composed of thin faience beads interspersed with spherical lapis lazuli, centred by five gold leaf pendants 40cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£1,000-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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40 ANCIENT EGYPTIAN JASPER NECKLACE EGYPT, LATE PERIOD, 664 - 323 B.C. carved and polished jasper, carnelian and glass, strung with cast glass spherical beads interspersed with jasper spacers, with alternating jasper and carnelian ib heart and lotus amulets 47.5cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£1,500-2,500

41 ANCIENT EGYPTIAN PHARAOH MOSAIC NECKLACE EGYPT, PTOLEMAIC PERIOD, 2ND 1ST CENTURY B.C. beads of faience interspersed with gold, with five glass pendants depicting a pharaoh wearing the Khepresh encased in gold, modern gold clasp 49cm long Provenance: Private collection, United Kingdom, acquired on the UK art market 1960s

£1,000-1,200

42 ANCIENT EGYPTIAN TEARDROP NECKLACE EGYPT, 18TH DYNASTY, 1550 - 1292 B.C. tubular beads of banded carnelian lead down to large polished carnelian teardrops parted by smaller carnelian and gold beads 22cm diameter Provenance: Private collection, United Kingdom, acquired 1972

£800-1,200

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43 ZIWIYE HORSE PROTOME NEAR EAST, 9TH - 8TH CENTURY B.C. terracotta, a kneeling horse of graceful deportment, the legs tucked beneath the body, the muscular neck leading to the head with flared nostrils and large incised eyes, traces of teal and cream pigment, raised on a bespoke mount 12.5cm tall Provenance: Private collection, United Kingdom

£2,500-3,500

45 PREDYNASTIC EGYPTIAN FLINT HAND AXE EGYPT, LATE MESOLITHIC, C. 7,000 - 6,000 B.C. flint, formed of a warm caramel stone, the cutting edge knapped to a point, marked with two inventory numbers in black ink “#507” and “59.300” 14cm long Provenance: Robert De Rustafjell (1876-1943), acquired in Thebes prior to 1909.

Deaccessioned from The Heckscher Museum of Art, Long Island, NY. Private New Jersey collection.

Published: De Rustafjaell, R., The Stone Age in Egypt: A Record of Recently Discovered Implements and Products of Handicraft of the Archaic Nilotic Races Inhabiting the Thebaid, New York, 1914. Object 505 (scan provided upon request)

£300-500

44 COLLECTION OF ATERIAN FLINT TOOLS NORTH AFRICA, MIDDLE TO LATE PALAEOLITHIC, 120,000 - 20,000 B.P. knapped flint, in a range of cream, black and brown hues (6) largest 7.5cm long Provenance: The Jeffrey Mulroy Collection of Flint Artefacts, United Kingdom

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

26

46 NEAR EASTERN DAGGER AND SWORD NEAR EAST, EARLY FIRST MILLENNIUM B.C. cast bronze, consisting of; one sword with ringed pommel, incised decoration to the handle and long blade with five raised ridges at its centre; one dagger with disc pommel and ornate handle, triangular blade held by a crescent tang, both raised on bespoke mounts (2) longest 59.2cm Provenance: Private collection, United Kingdom

£3,000-5,000

47 NEAR EASTERN SWORD NEAR EAST, EARLY FIRST MILLENNIUM B.C. cast bronze, with ornate pommel, dual ribbed handle and leaf shaped blade with three raised ridges at the centre 49cm long Provenance: Private collection, United Kingdom

£2,000-3,000

27

48

49

NEAR EASTERN SWORD

DUAL EAR POMMEL SWORD

NEAR EAST, EARLY FIRST MILLENNIUM B.C.

LURISTAN, 1200 - 800 B.C.

cast bronze, with ornate pommel, ribbed handle and elegant blade with three raised ridges at the centre, rich patination

cast bronze, slender square handle joining to a pommel that divides into two circular “ears” angled subtly away from the blade, the rectangular guard below a long blade with dual ridges

65cm long

79.2cm long

Provenance: Private collection, United Kingdom

Provenance: Private collection, United Kingdom, acquired 1980s

£2,000-3,000

£600-900

48

50

49

50

LURISTAN DAGGER LURISTAN, MID - LATE SECOND MILLENNIUM B.C. cast bronze, slender blade with pronounced central ridge, dual ridges to the handle and a circular pommel 46.5cm long Provenance: Private collection, United Kingdom, acquired 1980s

£250-350

49

51 WHETSTONE HANDLE LURISTAN, EARLY 1ST MILLENNIUM B.C. cast bronze and stone, the handle in the form of a leaping ibex, its legs tucked into the body, the horns oversized and completing a full loop into the neck, whetstone below, presented on a bespoke mount 31.5cm long Provenance: Private collection, United Kingdom, acquired 1980s Note: For a similar example please see; The Metropolitan Museum, New York, accession number 1988.102.10

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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52 LARGE WESTERN ASIATIC BRONZE IBEX FIGURE NEAR EAST, LATE 2ND MILLENNIUM B.C. - EARLY 1ST MILLENNIUM B.C. cast bronze, shown standing, the neck with a series of ridges leading to the small head with incised detailing and framed by two elaborate curved horns, a small raised platform at the top of the back and small upright tail to the rear, rectangular perforation on the underside exposing the hollow interior 33cm high Provenance: Corporate collection, New York, United States Stair Galleries, New York, 6th December 2003, Lot 316.

Private Collection of Mr I.K., acquired from the above sale.

Accompanied by metallurgy test (#R2411) by Dr Peter Northover confirming authenticity.

Published: Stair Galleries, New York, 6th December 2003, Lot 316.

£20,000-30,000

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Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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53 WESTERN ASIATIC LION PENDANT NECKLACE NEAR EAST, 1ST MILLENNIUM B.C. garnet and gold beads, with ten garnet lions surrounding a central large oval garnet encased within a gold cross 43cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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54 ANCIENT ARABIAN GOLD NECKLACE WITH FEMALE FIGURE PENDANT, LIKELY SABEAN SOUTHERN ARABIA, C. 5TH - 2ND CENTURY B.C. garnet spherical beads with exceptionally fine granulated gold spacers, a large gold female figure pendant with a looped base, eight garnets housed in gold casing hang below, three beaded gold suns to either side 51cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£6,000-9,000

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55 PHOENICIAN EYE GLASS AND GOLD BEAD NECKLACE NEAR EAST, C. 7TH CENTURY B.C. comprising thirty-three globular glass beads of blue and turquoise colour with compound eyes, interspersed with red stone and fine gold beads, with a large central glass bead with compound eyes throughout 51cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market from 1965 onwards

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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56 WESTERN ASIATIC LAPIS AND GOLD PENDANT NECKLACE NEAR EAST, 1ST MILLENNIUM B.C. tubular beads of lapis lazuli interspersed with spherical and hexagonal gold beads, a large lapis pendant at the centre 55cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,000-3,000

57 WESTERN ASIATIC LAPUS AND GOLD BEAD NECKLACE NEAR EAST, 1ST MILLENNIUM B.C. comprised of large square, rectangular and naturally formed beads of lapis lazuli alternated with smaller granulated gold beads 46cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,000-3,000

34

58 WESTERN ASIATIC LAPIS NECKLACE WITH GOLD PENDANTS NEAR EAST, 1ST MILLENNIUM B.C. of delicate construction, bands of tiny beads of lapis lazuli alongside light blue faience, with nine lapis oval pendants encased in a gold housing pressed into the form of a lotus 46.5cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market from 1965 onwards

£2,000-3,000

59 WESTERN ASIATIC NECKLACE NEAR EAST, 1ST MILLENNIUM B.C. beads of carnelian spaced with round gold drop beads, with a large central oblong agate with gold mounts at either end 45.5cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c.

1965 onwards

£1,000-1,500

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60 WESTERN ASIATIC AGATE, GOLD AND GARNET NECKLACE NEAR EAST, 1ST MILLENNIUM B.C. comprised of garnet beads interspersed with spherical gold beads, with a large central v shaped banded agate housed in a gold casing at either end 46cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,500-3,500

61 NEAR EASTERN CARNELIAN AND GOLD NECKLACE NEAR EAST, 1ST MILLENNIUM B.C. oblong, spherical and band beads of carnelian separated by spacers formed of coiled gold wire, with three large gold tubular beads with a ridged centre 52cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,000-3,000

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62 IMPORTANT INSCRIBED SABEAN SILVER-GILT BOWL SOUTHERN ARABIA, 2ND - 3RD CENTURY A.D. hammered gilt silver, the body chased with a criss-cross pattern, with a gilt bird of prey to the base, its wings outstretched, the head in profile, surrounded by a dotted border, a gilt running below the rim engraved with an inscription reading as follows; “Hari-yada’at and Halkum and their children, of [the family] Hasbach; and Dhakharil and Namamat” 16.2cm diameter Provenance: Private collection, United Kingdom, formed in 1950s – 1960s, accompanied by Art Loss Register and Interpol certificates Antiquities, Christie’s, New York, 10 December 2004, Lot 419, price achieved $33,460 Literature: Cf. Simpson, St J. 2002.

Queen of Sheba, Treasures from Ancient Yemen. p. 206, n. 306

£15,000-25,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

37

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63 WESTERN ASIATIC LAPIS LAZULI NECKLACE WITH GOLD PENDANTS NEAR EAST, 1ST MILLENNIUM B.C. comprised of alternating bands of tiny beads of lapis lazuli and faience, with five hammered gold geometric pendants 44.5cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,500-3,500

64 WESTERN ASIATIC BANDED AGATE AND GOLD BEAD NECKLACE NEAR EAST, 1ST MILLENNIUM B.C. gold and polished agate, banded agate tubular beads divided by hexagonal gold dividers, dividing into two strands below, with six large cylindrical beads mounted on gold finials with granulated borders 45cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£3,000-5,000

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65 PAIR OF FATIMID FILIGREE EARRINGS EGYPT OR GREATER SYRIA, 11TH CENTURY gold filigree with inlaid turquoise (2) 3cm high Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£1,500-2,500

66 BABYLONIAN CYLINDER SEAL MIDDLE EAST, C. 2000 B.C. carved carnelian, depicting an erotic scene, the female figure shown drinking beer through a straw 2cm long Provenance: Private collection, United Kingdom, formed between 1965-2020

£1,000-2,000

67 NABATEAN RED TERRACOTTA BOWL SOUTHERN ARABIA, C. 1ST - 2ND CENTURY A.D. fired and hand painted red terracotta, standing on a rounded base, of delicate construction with thin sloping walls and a subtly pinched rim, enriched with painted floral motifs in brown pigment 16.3cm diameter Provenance: Mme Liechti, Geneva, Switzerland

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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68 GROUP OF ANCIENT CHINESE GILT TILES CHINA, 1ST MILLENNIUM B.C. glass, each with a recessed section in the form of a cross with gilt inlay (7) each 5.4cm x 4.2cm Provenance: Private collection, United Kingdom

£400-600

69 CAUCASIAN OPENWORK BELT PLAQUE C. 1ST CENTURY B.C. cast bronze, the square plaque with a solid border containing recessed circles, the central motif an ibex shown with its legs slightly bent, back arched and head raised, elaborate looping horns, incised detail, raised on a bespoke mount 6.8cm x 8cm Provenance: E. Nejad, Zurich, acquired prior to 1988 Private collection, London, United Kingdom, acquired from the above

£1,500-2,500

70 FIVE SILVER ORDOS PLAQUES NORTHERN CHINA, 4TH - 3RD CENTURY B.C. silver, openwork, each displaying a bird a the centre within a square frame, displayed on a mount (5) largest 7.5cm wide Provenance: Private collection, United Kingdom, assembled 1965-2018

£250-350 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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71 COLLECTION OF ORDOS BRONZE PLAQUES NORTHERN CHINA, 3RD - 2ND CENTURY B.C. bronze, consisting of three pairs of plaques, each raised on a bespoke mount; the first pair each with a single charging bull, openwork and fire gilt; the second pair in low relief, depicting two animals standing astride a horned figure; the third pair with small areas of openwork, showing a swirling mix of mythical beasts and vegetal themes (6) largest 6cm x 11cm Provenance: Private collection, United Kingdom

£1,500-2,500

72 COLLECTION OF ORDOS BRONZE PLAQUES NORTHERN CHINA, 3RD - 2ND CENTURY B.C. fire gilt bronze, consisting of four pairs of plaques, each raised on a bespoke mount; the first pair each of openwork construction, depicting a series of sinuous gripping beasts with incised decoration; the second pair with distinct scenes, the first plaque with a horned deity at the centre, flanked by birds and with two bulls heads below, the second with water fowl and bulls; the third pair openwork and depicting two animals standing astride a horned figure; the fourth pair depicting an antelope at rest (8) largest 5.5cm x 10.7cm Provenance: Private collection, United Kingdom

£2,500-3,500

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73 FINE ROMAN MEASURING JUG, MODIOLUS EUROPE, 1ST CENTURY A.D. blown glass, of translucent appearance, standing on a concave base with pontil mark, the body subtly tapering into a flaring and everted rim with raised ridge beneath, small trailed handle at the midsection 12.9cm tall Provenance: S.M. Collection (1948 2000), London Private collection, United Kingdom Note: For a similar example please see; Type 1126, Roman Glass in the Corning Museum: Vol 3.

£3,000-5,000

74 ROMAN GLASS WINE GOBLET EUROPE / NEAR EAST, 3RD - 4TH CENTURY A.D. pale blue-green glass, standing on a circular base, the vessel of conical form with a splayed rim 11.1cm tall Provenance: Ancient Art, Windsor, United Kingdom Private collection, United Kingdom

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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75 ROMAN MARBLED GLASS PHILAE EUROPE OR NEAR EAST, 1ST - 2ND CENTURY A.D. marbled glass, the tapering tail leading to a bulbous body below a long tubular neck and rolled rim, the glass in marbled patterns of blue, white and olive green, accompanied by a bespoke stand 9cm tall Provenance: Private collection, United Kingdom, acquired on the London art market, 1980s

£300-500

76 ROMAN GLASS STEM CUP EUROPE / NEAR EAST, 4TH - 5TH CENTURY A.D. pale green glass, standing on a conical base and stemmed foot, the body with ridged decoration and inverted rim, profuse iridescence throughout 10cm tall Provenance: S.M. Collection (1948 - 2000), London Private collection, United Kingdom

£300-500

77 ROMAN TWIN HANDLED GLASS JAR 3RD - 4TH CENTURY A.D. free blown green glass, standing on a dimpled base, the round body leading to a recessed neck and everted rim, twin strap handles, superb rainbow iridescence 10.2cm tall Provenance: Scottish private collection, acquired mid20th century, thence by descent.

£400-600

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78 ROMAN GLASS CAMEO PORTRAIT ROMAN, 1ST CENTURY A.D. cast glass, depicting the bust of a young man, the ties of his wreath flutter behind his head 3.3cm diameter Provenance: Private collection, United Kingdom, acquired prior to 1986 Private collection, United Kingdom, acquired from a Mayfair gallery in 2006. Accompanied by ALR Certificate.

£1,000-2,000

79 ROMAN CAMEO PORTRAIT BUST OF A FEMALE EUROPE OR NEAR EAST, 1ST - 2ND CENTURY A.D. pottery, raised from an oval base, the female bust in high relief, the head turned subtly to the left side, the hair parted centrally and tied behind 3.3cm tall Provenance: Private collection, United Kingdom

£300-500

80 ROMAN SLEEPING DOG WESTERN EUROPE, C. 1ST - 2ND CENTURY A.D. carved alabaster, of powerful build, the animal is shown sleeping, its hind legs tucked into the body, the broad head curled around, a fine and naturalistic piece, raised on a bespoke mount 6.7cm long Provenance: Private collection, United Kingdom

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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81 ROMAN MARBLE TORSO OF VENUS EUROPE, C. 2ND CENTURY A.D. carved marble, the goddess depicted nude, shown standing with her weight on her right leg, the left slightly advanced and bent at the knee, the torso subtly tilted to the right, remnants of the folds of her garment to the side of the right leg, raised on a bespoke mount 42cm tall Provenance: Private collection, United Kingdom, acquired on the U.K. art market

£5,000-7,000

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82 ROMAN SARCOPHAGUS CORNER FRAGMENT OF HERCULES NEAR EAST, 2ND - 3RD CENTURY A.D. carved stone, a corner fragment from a large sarcophagus, Hercules is shown with his weight balanced upon his left leg, the torso subtly turned, powerfully built, he is shown nude, with the exception of the Nemean lion-skin cape tied at the chest with the mane flowing behind, raised on a bespoke mount 49.5cm tall Provenance: Private collection, United Kingdom, acquired on the London art market 1950s - 1960s, thence by descent. Please note that a signed letter from the consignor confirming the provenance and providing further details will be provided to the winning bidder.

£1,000-2,000

83 ROMAN WINE AMPHORA EUROPE OR NEAR EAST, 1ST CENTURY A.D. terracotta, out-turned lip, twin strap handles, incised bands to the shoulders, tapering to a point at the base, raised on an iron mount 71cm high Provenance: Private collection, Scotland

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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84 ROMAN CHI RHO MOSAIC EUROPE / NEAR EAST, LATE 4TH CENTURY A.D. hard stone tesserae, a large Chi Rho and Alpha and Omega in the centre, surrounded by bands of red, white, yellow, pink and green tesserae 185cm x 125cm Provenance: European private collection, acquired 1980s Private collection, United Kingdom, acquired on the London art market in 2010 Note: After more than two centuries of intermittent but often intensive persecution, Christianity was granted legal status across the Roman Empire in 313 A.D. by the Emperor Constantine I, himself a Christian convert. Over time mosaics with overt Christian symbolism became favoured as a statement of both religious identity and wealth. The Chi Rho symbol featured in the present example was one of the earliest forms of christogram and was used by Constantine himself as part of his military standard.

£15,000-25,000

85 ROMAN MOSAIC OF A HORSE EUROPE OR NEAR EAST, 3RD - 4TH CENTURY A.D. hard stone tessellae, the animal depicted with a prominent mane, shown in side profile, wearing full tack and biting down on the bit 30cm x 32cm Note: Please note that this piece is a modern reconstruction using genuine ancient tessellae.

Provenance: From an old United Kingdom collection, thence by descent

£4,000-6,000

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86 ROMAN SATYR EUROPE, 1ST - 2ND CENTURY A.D. bronze, the lithe satyr is shown with legs bent under the strain of his burden, dressed in a loincloth and with an ivy wreath pressing the hair from the face, raised on a bespoke mount 11.5cm tall Provenance: Private collection, acquired on the London art market in the 1960s Pierre Bergé, Paris, 16th May 2018, lot 256

£8,000-12,000

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87 ROMAN APPLIQUÉ BUST OF EROS EUROPE, C. 200 A.D. cast bronze, an exquisite composition, depicting the upper part of the winged youth, shown leaning forwards as if in flight, the silvered eyes gazing outwards, wings carefully incised, the hair is well rendered with curly locks falling to the side, he clutches a goose to his chest with both hands, the creature’s head rising to touch his chin, the reverse of curved form, with two cylindrical sockets above, raised on a bespoke mount 10.2cm x 12cm Provenance: Sotheby’s, London May 1988, lot 234.

Malter galleries, XLV 28 May 1991, lot 902.

Bruce A. Kamerling collection, acquired from Royal Athena Galleries, New York, 26 June 1994.

The Haggin Museum, Stockton, California.

Bonhams, Antiquities, 23 May 2012, lot 121.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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88 WESTERN ASIATIC GOLD AND LAPUS LAZULI NECKLACE NEAR EAST, C. 1ST MILLENNIUM B.C. four gold beads of curved tubular form alternating with ribbed lapus lazuli beads, with smaller beads of both gold and lapus lazuli to the back, gold clasp 50cm long Provenance: Private collection, United Kingdom, acquired on the art market from c. 1965 onwards

£1,000-1,500

89 HELLENISTIC AMETHYST AND GOLD NECKLACE EASTERN MEDITERRANEAN, 3RD 1ST CENTURY B.C. spherical and naturally shaped beads of amethyst parted by tubular gold spacers, with a large unworked amethyst at the centre 46cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards

£2,000-3,000

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90 BYZANTINE AMETHYST NECKLACE WITH GOLD OPENWORK PENDANT EASTERN MEDDITTEREAN, C. 6TH - 7TH CENTURY A.D. spherical and triangular beads of amethyst alternating with small openwork gold orbs, with a central gold openwork disc comprising of roundels bordering a flower 48cm long Provenance: Private collection, United Kingdom, acquired on the U.K. art market c. 1965 onwards Note: For an example dating to the same period (though of interior quality) please see; The Metropolitan Museum, New York, accession number 17.190.1652

£3,000-5,000

91 ROMAN GOLD AND CARNELIAN FINGER RING EUROPE, MID 3RD CENTURY A.D. carnelian and gold, the convex oval stone engraved with an image of the Emperor Gordian III, mounted as a ring in an antique gold setting U.K. size L Provenance: Private collection, Scotland

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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THE JON LAWTON COLLECTION LOTS 92 TO 114

The Jon Lawton collection of Prehistoric Metalwork is more than an

in Bronze Age art, decorating jewellery intended for personal

exploration of ancient personal adornment and tools. The objects

ornamentation, but also ceramics and metal vessels. Examples

showcased in the collection take us on a journey into the social,

from the collection include lots 98, 99, 103 & 104. The use of the

political and military culture of the Bronze and Iron Age peoples of

spiral is so widespread that it is hard to avoid the conclusion that its

Europe.

significance was religious. Some have suggested that the spiral refers

Notwithstanding the second-hand Greek and Roman sources that emerged towards the later Iron Age, objects such as these represent the only direct evidence of the beliefs of those who created them.

Within these societies, knowledge was passed through oral traditions, whilst “art” as we understand it was a tool used to express cultural norms and an understanding of the natural and supernatural world.

The collection can essentially be split into two parts: items for personal adornment and beautification and tools and weaponry.

All are objects of status. Metalwork, both in bronze and gold, was a luxury that lent prestige and authority to the personages who wielded it. Even seemingly utilitarian objects such as the cast axeheads featured in lots 92, 93 & 94 would have been highly prized.

The tradition of simple bronze cast bladed items dates to the very earliest era of European metallurgy. Though the present pieces date to well over 1000 years after the first examples emerged, it is widely believed that elite groups continued to control the circulation of bronze items during this period, restricting their use among the

to a solar deity. Certainly, there is no doubt that many Bronze Age communities of Western and Central Europe were organised around the procession of time and the seasons, the movements of the sun and moon. Many stone circles and henges constructed during this period as religious sites aligned were aligned on heavenly bodies and the rising sun at midsummer and the setting sun at the winter solstice.

The Late Bronze Age was marked by a warrior culture described most vividly by Homer in the Iliad and Odyssey but clearly also present as far as the western fringes of preliterate Europe. This is attested by grave goods profuse with weaponry and armour, plastic art and rock carvings of conflict. In this context, spiral bracelets such as lot 100 have in the past been viewed as possible warriors’ attire, intended to offer physical protection. However, there is little evidence to prove that this type of object was worn in combat, especially given that its construction would offer limited protection. Rather with its strong talismanic symbology, it may have been intended to offer its wearer spiritual protection from forces both physical and metaphysical.

wider population. Of mould-made construction, each is cast with

The importance placed on personal adornment and display continued

a hollow socket allowing it to attach it firmly to the wooden haft

into the Iron Age. This point is no better illustrated than by the

with which it was wielded. As well as their use in life, the numerous

magnificent late 1st millennium “Celtic” torc, lot 112. The piece is a

hoards containing such objects suggest that they functioned as ritual

superb example of the type and would have been the preserve of

offerings deposited during burials. Such burials remained undisturbed

the highest echelons of society. At the beginning of the Late Bronze

because as gifts to the gods, they had gone beyond the land of the

Age, complex twisting techniques as seen in this torc replaced sheet

living. The ritual and spiritual importance of bronze axeheads is

goldwork. Indeed, the term torc descends from the Latin torqueo,

highlighted by the fact that they appear to have continued to be

to twist. The dazzling ornamentation worn by the Celtic peoples

carried as prestige items and offered up in hoards well after bronze

impressed foreign contemporary commentators, with the Roman

had been supplanted by iron.

historian Diodorus Siculus writing the following around 50 B.C. “[the

It was during the Late Bronze Age (1300 – 800 B.C.) that bronzeworking technology was refined to its peak. The bronzesmith of this era had complete mastery over his material, his skills honed by the elite’s demand for objects of dazzling display. Of particular popularity was the spiral motif, this type of ornament emerged in Central Europe and spread across Europe, notably in the late Tumulus, Urnfield and Hallstatt cultures. The spiral motif is ubiquitous

Celts] gather gold that is used for ornaments not only for women but men as well, for they wear bracelets on their arms and wrists and also massive solid-gold collars around their necks.” The Dying Gaul (based on a Hellenistic original dating to the 3rd – 1st century B.C., contemporary with the present piece) shows the fallen warrior nude, with the exception of the torc around the neck. In ancient times, as today, the torc is arguably the most iconic artwork of the ancient peoples of western and central Europe.

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92 MIDDLE BRONZE AGE PALSTAVE AXE WESTERN EUROPE, C. 1200 B.C. cast copper alloy, with short winged flanges and a flaring blade 15cm long Provenance: Private collection, Walton-on-Thames, acquired 1930s The Jon Lawton Collection, acquired from the above 1970s

£300-500

93 EARLY IRON AGE SOCKETED AXE HEAD UNITED KINGDOM, 7TH CENTURY B.C. cast bronze alloy, of the Sompting type, ribbed collar below raised double crescent decoration, looped handle and flaring blade 12.5cm long Provenance: Chris Rudd Collection, United Kingdom The Jon Lawton Collection

£250-350

94 LATE BRONZE AGE SOCKETED AXE HEAD WESTERN EUROPE, C. 1200 B.C. cast bronze, the extended tongue below an eye loop and convex shaped blade 10cm long Provenance: Maurice Braham, United Kingdom Nicholas Wright, United Kingdom The Jon Lawton Collection

£150-250

95 BRONZE AGE SICKLE BLADE WESTERN EUROPE, C. 800 B.C. cast bronze, of curving form, with decorative raised grooves and a protrusion at the base for attachment to a wooden handle 17.3cm long Provenance: Private collection, Walton-on-Thames, acquired 1930s-1960s The Jon Lawton Collection

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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96 BRONZE AGE COILED RING EUROPE, 1500 - 1200 B.C. bronze, formed from a single piece of bronze wire, worked into a coil 2cm tall Provenance: The Jon Lawton Collection, acquired c. 1980s

£200-300

Note: The conjoined spiral is one of the earliest symbols found in prehistoric Europe, with examples found in rock carvings as far back as the Neolithic. Whatever its true meaning, its continued prevalence well into the Bronze Age suggests a strong totemic value.

97 FINE BRONZE AGE DRESS PIN EUROPE, 1200 - 800 B.C. cast bronze, the long pin with elegant looped finial and curled terminal, with small incisions along the central rib, fine green patination 25.3cm long Provenance: The Jon Lawton Collection

£200-300

98 BRONZE AGE SPIRAL RING EUROPE, 1400 - 900 B.C. bronze wire, formed from a single piece trailed to form the shank and a single coil, green patination 6cm across Provenance: Private collection, Waltonon-Thames, acquired 1930s - 1960s The Jon Lawton Collection

£200-300

99 BRONZE AGE SPIRAL RING EUROPE, 1500 - 1200 B.C. bronze, worked from a single wire forming two opposing spirals connected by a ringed shank, with impressed decoration throughout 8cm diameter Provenance: Private collection, acquired 1990s, United Kingdom The Jon Lawton Collection

£250-350

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100 PAIR OF BRONZE AGE ARMBANDS EUROPE, 1200 - 900 B.C. copper alloy, each made from a single piece of continuous thread, with coiled terminals at either end (2) tallest 14.4cm Provenance: Private collection, Germany, formed 1990s The Jon Lawton Collection Note: For a similar example please see; The Metropolitan Museum of Art, New York, accession number 2000.407.2.

£1,000-2,000

101

102

BRONZE AGE PIN EUROPE, 1500 - 1200 B.C.

BRITISH CELTIC COSMETIC IMPLEMENT

cast copper alloy, a rounded shaft with three ridges leading to a circular finial

UNITED KINGDOM, 1ST CENTURY B.C. - 1ST CENTURY A.D.

18.5cm long

The Jon Lawton Collection

cast and incised bronze with enamel inlay, with a flat blade, waisted stem and conical bulb, with a band of ring and dot motifs, raised on a bespoke mount

£150-250

3.9cm tall

Provenance: Private collection, Walton-onThames, acquired 1930s - 1960s

Provenance: The Jon Lawton Collection

£300-500

103 BRONZE AGE SPIRAL PENDANT CENTRAL EUROPE, C. 1200 B.C. copper alloy, formed as two coils of round section rod with a loop between 7.2cm across Provenance: The Jon Lawton Collection, acquired on the London art market prior to 1980

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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104 BRONZE AGE COILED BROOCH CENTRAL EUROPE, C. 11TH - 10TH CENTURY B.C. copper alloy, in the form of three figure of eight coils, to one end a large coil, to the other a large spring with integral pin resting on a catchplate formed from coil 10.5cm long Provenance: The Jon Lawton Collection

£400-600

105 BRONZE AGE PENANNULAR SPIRAL BROOCH CENTRAL EUROPE, C. 1200 B.C. copper alloy, dual opposing flattened coil spirals conjoined by a top loop, with hipped securing pin 7.7cm long Provenance: Private collection, United Kingdom, acquired 1990s The Jon Lawton Collection

£250-350

106 BRONZE AGE SPIRAL BROOCH CENTRAL EUROPE, C. 11TH 10TH CENTURY B.C. copper alloy, formed from a single wire, a flat coiled plaque leading to a wound shank, double looped bow and pin behind 9cm long Provenance: Private collection, United Kingdom, acquired 1990s The Jon Lawton Collection

£300-500

107 BRONZE AGE PROBE EUROPE, C. 1200 - 800 B.C. cast copper alloy, narrow handle with spiral shaped head, fine green patina

108 PAIR OF DRESS PINS

16.5cm long

WESTERN EUROPE, 1500 B.C.

Provenance: Private collection, Walton-onThames, acquired 1930s - 1960s

both cast copper alloy with a rounded shaft and disc finial (2)

The Jon Lawton Collection

12.5cm long

£200-300

Provenance: Private collection, United Kingdom The Jon Lawton Collection

£150-250 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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109 CELTIC BRACELET CENTRAL EUROPE, HALLSTATT CULUTRE, C. EARLY FIRST MILLENNIUM B.C. cast bronze, of penannular form, with a repeating motif of raised circular sections bordered by repeating constrictions 6cm diameter Provenance: Private collection, Walton-on-Thames, acquired 1930s - 1960s The Jon Lawton Collection

£400-700

110 CELTIC TORC WESTERN EUROPE, C. 6TH CENTURY B.C. cast bronze, of twisted construction, the tapering ends with flattened, coiled terminals 14.7cm diameter Provenance: Private collection, Walton-onThames, acquired 1930s - 1960s The Jon Lawton Collection

£250-350

111 CELTIC ARM RING WESTERN EUROPE, 8TH CENTURY B.C. cast copper alloy, of thick overall construction, twisted and with flattened terminals 12.5cm diameter Provenance: Private collection, Walton-onThames, acquired 1930s - 1960s The Jon Lawton Collection

£200-300

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112 SUPERB ANCIENT CELTIC GOLD TORC WESTERN EUROPE, 3RD - 1ST CENTURY B.C. 63.9 grams gold, formed from a single spiral of twisted gold wire, with a fastened pin and hoop terminal 48.5cm diameter Provenance: Private collection, Walton-on-Thames, acquired 1930s - 1960s The Jon Lawton Collection

£7,000-10,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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113 CELTIC GOLD BANGLE WESTERN EUROPE, 3RD - 1ST CENTURY B.C. gold, formed from a single circular band with additional trailed decoration added around the hoop and clasp 6cm diameter Provenance: Private collection, Walton-on-Thames, acquired 1930’s - 1960’s The Jon Lawton Collection

£3,000-5,000

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114 PAIR OF IRON AGE BRACELETS CENTRAL OR EASTERN EUROPE, 300 - 500 A.D. cast bronze, each with scooped edges, double ropework borders, median ropework bands and three triangular transverse projections (2) each 6.2cm diameter Provenance: Private collection, Germany, formed 1990s The Jon Lawton Collection

£800-1,200

115 VIKING AXE HEAD NORTHWESTERN EUROPE, 9TH - 11TH CENTURY A.D. forged iron, with a rectangular butt, socket with lateral flanges and triangular section blade with narrow curved edge 12.5cm long Provenance: Property of a London businessman, from his grandfathers collection formed mid-20th century, thence by descent.

The Jon Lawton Collection

£600-900

116 PAIR OF AVAR HUNTING DOG APPLIQUES EASTERN / CENTRAL EUROPE, 8TH CENTURY A.D. cast bronze, two dogs in mid stride, with chased decoration adorning the stylised bodies, the heads likely broken in antiquity, presented on a bespoke metal stand, with old labels to the reverse (2) longest 7.1cm Provenance: Private collection, London, United Kingdom, 1990s

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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117 VIKING GOLD RING NORTH WESTERN EUROPE, 9TH-11TH CENTURY A.D. gold, formed from a single solid band coiled into a shank, with a central recessed section featuring a running raised zigzag motif with dotted ornament between weight 17g, UK size U Provenance: Private collection, United Kingdom, acquired 1980s

£3,000-5,000

118 FINE VIKING GOLD BRACELET NORTHWESTERN EUROPE, 9TH - 11TH CENTURY A.D. of exceptionally fine quality, formed from eight braided strands hammered into elegant solid finials with looped ornament 8.6cm diameter, 79.5g Provenance: Private collection, United Kingdom, acquired 1980s Note: Executed with a complex braiding technique and finished with elegant coils, this beautiful bangle is a fine example of the exceptional skill of the Viking Age smith. Gold was far less common than silver across the Viking world, so the sheer weight of current piece is testament to the means and status of its original owner. Though this example was likely intended to be worn, gold ornamentation could also be used as a means of payment.

£8,000-12,000

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AFRICAN ART

119 LOBI FIGURE BURKINA FASO carved wood, shown standing, the torso subtly turned, the hands placed on the belly, thick patination, raised on a bespoke mount 20.4cm tall Provenance: Ian Auld, United Kingdom Private collection, London, United Kingdom, acquired from the above

£200-300

120 EBRIE FIGURE IVORY COAST carved wood, standing on an integral plinth, the broad legs and buttocks rising to a slender waist, the powerful arms meeting at the midriff, with a distinctive long neck, serene face with arched brows and prominent scarification, wearing a skull cap 27.5cm tall Provenance: Gertrude Hermes, Bristol, United Kingdom Anthony Hepworth, Bath, United Kingdom Private collection, United Kingdom

£600-900

121 LOBI CATAPULT BURKINA FASO carved wood, of anthropomorphic form, the attachment frame forming the legs, rising to a neck and human head finial, raised on a bespoke mount 17cm tall Provenance: Private collection, United Kingdom

£200-300

Left Lot 168 [detail] Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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122 BWA MASK BURKINA FASO carved wood and pigment, the central plane spread in the form of wings, incised and painted with various geometric, anthropomorphic and zoomorphic motifs, in the middle two concentric circles denoting the eyes, a central beak and circular mouth, at the reverse checker board pattern and face mask 159.4cm wide Provenance: Bonhams, London, Tribal Art, 3rd July 2002, lot 77 Private collection, United Kingdom

£2,000-3,000

123 DOGON LADDER MALI wood, carved from a single trunk, with six treads, presented on an iron base 148cm tall Provenance: Private collection, United Kingdom

£200-300

124 LOBI STOOL BURKINA FASO carved wood, a rectangular seat, standing on three legs, two short and subtly curved, the third longer and tapering to a point 71cm long Provenance: Private collection, United Kingdom, acquired on the London art market

£350-550

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125 DOGON BRACELET MALI carved and polished stone 11.5cm diameter Provenance: Private collection, United Kingdom

£100-150

126 NUPE NECKLACE NIGERIA glass and metal beads, raised on a bespoke mount 40cm tall Provenance: Colin Sayers, Cape Town, South Africa Private collection, United Kingdom

£200-300

127 DOGON DOOR LOCK MALI carved wood, in the form of a human figure with the arms raised, a small metal plaque covering the mouth, the torso recessed, on the reverse the key bearing images of etched human figures 23.9cm tall Provenance: Private collection, United Kingdom

£200-300

128 YORUBA BOX NIGERIA carved wood, the circular box with separate lid, carved with a frontal human head and a turtle above 40.5cm diameter Provenance: Private collection, United Kingdom

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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129 YORUBA MASK, GELEDE NIGERIA carved wood and pigment, the face with incised eyes and scarification to the cheeks, a red and white chequerboard design cap beneath an elaborate headdress depicting a motorcyclist with pillion passenger 49.4cm tall Provenance: Private collection, United Kingdom, acquired c. 1970s, thence by descent

£200-300

130 YORUBA EPA MASK NIGERIA carved wood and pigment, the helmet Janus faced with perforated rectangular section mouth, facial details in white pigment over a red ochre wash, topped by a standing goat finial 50.5cm tall Provenance: Private collection, United Kingdom, acquired 1950s

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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131 YORUBA SHANGO STAFF NIGERIA carved wood, the cylindrical shaft below a rectangular platform supporting a standing devotee, wearing a shawl tied at the waist, scarifications to the face and thunderax crest above the head, ritual patination throughout, raised on a bespoke mount, old label on the reverse reading “Nigeria. Figure. Shango - cult.”

48.1cm tall Provenance: Anthony Hepworth, United Kingdom Private collection, United Kingdom

£400-600

132 YORUBA MASK, GELEDE NIGERIA carved wood, with a serene expression, eyes drilled, scarification to the cheeks, tall incised coiffure, cream and white pigment 25.8cm long Provenance: Private collection, Scotland

£200-300

133 YORUBA OFFERING BOWL NIGERIA carved wood, the nude female figure shown kneeling on a round base, holding atop her head a deep bowl 59cm tall Provenance: Acquired in situ 1970s by a Dutch doctor based in southern Nigeria, thence by descent Private collection, United Kingdom

£300-500

134 YORUBA TWIN FIGURES, IBEJI NIGERIA carved wood and pigment, one male and one female, both shown standing with the arms held to the sides, both with blue pigmented elaborate coiffure and scarification to the face (2) 30cm tall Provenance: Private collection, Scotland

£250-350 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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135 DAN MASK IVORY COAST carved wood and fibre of classic oval form, with high domed forehead and central ridge, wide grooved lids, prominent cheekbone and strong mouth, with a vegetable fibre coiffure and glossy black patina, raised on a bespoke mount 23cm high Provenance: Private collection, Paris, France Private collection, London, United Kingdom

£1,000-2,000

136 EJAGHAM HEADDRESS NIGERIA leather stretched over a wooden frame, with inset iron teeth, dual figural headdress, black and ochre pigment 67.1cm tall Provenance: Private collection, United Kingdom, acquired prior to 1980, thence by descent

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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137 BAULE ANKLET IVORY COAST cast copper alloy, crescent form, adorned with linear ridges and concentric rings ... for a similar example please see The Brooklyn Museum, New York, accession number 74.173.4 11.5cm diameter Provenance: Private collection, United Kingdom

£100-150

138 KIRDI CACHE-SEXE CAMEROON cast iron and leather, thirty separate spikes perforated and threaded with a leather waistband, presented on a bespoke mount 29.5cm high

139 EDO SEATED FIGURE NIGERIA

Provenance: Private collection, United Kingdom, acquired from a Cape Town dealer

£200-300

cast bronze, the figure is shown seated, playing a thumb piano 32cm long Provenance: Private collection, United Kingdom, acquired prior to 1990, thence by descent

£300-600

140 AKAN PROCESSIONAL SCENE GHANA cast bronze, a processional scene, a high ranking figure is bourne in a litter carried by six attendants, with musicians in front and behind 11cm long Provenance: Private collection, United Kingdom

£100-200

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141 MBALA HAT DEMOCRATIC REPUBLIC OF CONGO raffia, knotted and pile technique 26.5cm long Provenance: Private collection, Belgium Andres Moraga, San Francisco Private collection, London (original purchase invoice to be provided)

£800-1,200

142 BAULE FLYWHISK IVORY COAST carved wood, gold leaf, textile and hair, the handle wrapped in blue and red stitched fabric with carved wood human face finial above covered in gold leaf, animal hair whisk below, raised on a bespoke mount 65cm tall (incl. hair) Provenance: Merton Simpson, New York Private collection, Switzerland

£300-500

143 BAULE SLINGSHOT IVORY COAST carved wood, the handle formed of a janus human head form, rich caramel patination indicative of extensive use 21.5cm tall Provenance: Private collection, United Kingdom, acquired on the London art market

£300-500

144 BAULE FEMALE FIGURE IVORY COAST carved wood, standing on an integral base with arched legs, bent knees, prominent buttocks, the hands placed at the waist, scarification running vertically up the chest and back, slender neck, elegant arched brows, further scarification to the mouth and temples, the coif swept back, presented on a wooden stand 39.2cm tall Provenance: Private collection, Switzerland, acquired in situ c. 1960 - 1970 Jean David Collection, Basel, Switzerland Private collection, United Kingdom

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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145 COLLECTION OF TIKAR WEAPONRY CAMEROON cast iron and carved wood, consisting of seven throwing spears and three swords, each blade with incised decoration (10) longest 212.2cm Provenance: Collected between 1914-1918 by Robert Whyte Melville Dundas of Comrie, Scotland, who served in the West African theatre throughout WWI. Thence by descent.

£300-500

146 KUBA LONG MAT DEMOCRATIC REPUBLIC OF CONGO Interlaced pigmented fibres over cane strips, expressed in geometric forms, executed in indigo and mauve dye 254cm x 71cm Provenance: Private collection, United Kingdom

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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147 CHOKWE THUMB PIANO, MBIRA DEMOCRATIC REPUBLIC OF CONGO carved wood and metal, the series of metal keys attached to a raised wood and iron rectangular section, with fine incised geometric design below, leather carrying strap above 23.5cm tall Provenance: Jack Sherman, South Africa

£80-120

148 FOUR KUBA SHOOWA TEXTILE PANELS DEMOCRATIC REPUBLIC OF CONGO raffia palm fiber, cut pile embroidery (4) largest 60cm x 28cm Provenance: Private collection, Scotland

£150-250

149 TRIO OF SHI VESSELS UGANDA carved wood, two of typical form with single long handle, the third in the style of a western teapot on a stand, all with etched detailing (3)

150 TUTSI CEREMONIAL SCREEN RWANDA

Provenance: Private collection, Belgium

sewn and dyed fibre cane splits, a central motif of stacked triangles surrounded by a woven border

£100-200

50cm x 52cm

tallest 23cm

Note: Though its use is uncertain, it is possible this piece was used as a sacred milk pot separator.

Provenance: Private collection, United Kingdom

£200-300

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151 TETELA MASK DEMOCRATIC REPUBLIC OF CONGO carved wood, pigment, feathers and woven fibre, white wash with incised geometric grooves coloured in red and black pigment, open mouth with carved teeth exposed, perforated coffee bean eyes, feathered headdress, animal leather stuffed with fibre applied at the ears and head to evoke an arachnid, and fibre netting at the reverse 51cm tall Provenance: Private collection, United Kingdom

£1,500-2,500

152 LARGE TUTSI CEREMONIAL SHIELD RWANDA carved wood and pigment, of elliptical form, with a bold geometric design executed in hues of red, black and white, with integral handle and presented on a bespoke mount 75cm tall Provenance: Private collection, Holland Private collection, London, United Kingdom

£1,000-2,000

153 TUTSI ARCHERS BRACELET, IGITEMBE RWANDA carved wood and brass, of broad crescent form, with numerous copper insets, rich patination indicative of age and use, raised on a bespoke mount 14.8cm diameter Provenance: Private collection, London, United Kingdom

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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154 PAIR OF SIDAMO HORN SPOONS ETHIOPIA carved horn, graceful curving form, hollowed at one end to form the scoop, etched decoration longest 33cm Provenance: Bryan Reeves, London Private collection, United Kingdom

£150-250

155 PAIR OF KAMBA COLON ASKARI FIGURES KENYA carved wood and pigment, both figures shown standing to attention, dressed in military uniforms with tall fezzes, one with a rifle held to the side (2) 29.8cm tall Provenance: Private collection, United Kingdom

£200-300

156 MINIATURE AMHARA SHIELD OR BOSS ETHIOPIA brass with wickerwork backing and leather handle, raised on a bespoke mount 17.4cm diameter Provenance: Marvin Chasin, London Private collection, United Kingdom

£200-300

157 LOZI BOWL ZAMBIA standing on a circular base, with deep bowl and independent lid with architectural finial 20.2cm diameter Provenance: Bryan Reeves, London Private collection, London

£150-250

158 DINKA WAR CLUB SOUTH SUDAN carved wood, oval in section, carved striations running parallel along the body, rich patina 75.5cm long Provenance: Private collection, United Kingdom

£150-250

159 STOOL EAST AFRICA, KENYA OR ETHIOPIA carved wood, standing on a flat circular base, stem support and wide seat with incised triangles running along the border, rich patination 43.4cm diameter Provenance: Private collection, United Kingdom

£40-60 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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160 ZULU UNION JACK BAG SOUTH AFRICA hide and beadwork, with Union Jack design on the front and leather carrying strap 18cm across Provenance: Private collection, United Kingdom

£200-300

161 COLLECTION OF ZULU BEADWORK SOUTH AFRICA

162

beads, metal and fibre string, a selection of Zulu beadwork including necklaces and a waistband (5)

NECKREST

longest 98cm Provenance: Sir Frank Baddeley (1874-1966) Private collection, United Kingdom

£250-350

NORTHERN SOMALIA carved wood, zoomorphic form neckrest, standing on four feet, with “head” and “tail” lug handles at each end and a triangular undulation at the midriff, bowed seat and extensive patination from use 52.1cm long Provenance: Bryan Reeves, London Private collection, United Kingdom

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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163 UMHALLA’S PIPE SOUTH AFRICA carved wood and inlaid pewter, with a 19th century label, reading: Umhalla’s Pipe. This pipe (of native kaffir manufacture) was promised to Rev F. Fleming when at Chief’s Kraal the *****, with Bishop Gray, Aug 1850 - Kaffir War shortly after this broke out, no more was seen of Umhalla until Aug 4 1853 when he was met in King Will (?) town, Kaffaria. Reminded of his promise, he at once acknowledged it. Said he had the pipe still. Then gave it as promised F.F. 16.2cm long Provenance: Umhalla (Nathaniel Cyril Umhalla) Reverend Francis Fleming, gifted by the above 1853, thence by descent Note: A Xhosa pipe with exceptional provenance. Originally belonging to Umhalla, a Xhosa prince, it was gifted in 1853 during the Eighth Kaffir (Xhosa) War. Umhalla was a son of Cheif Mhala, who was a prominent figure in the Xhosa War, resisting British aggression and fighting to retain control of his land.

Following the end of the conflict he was later sentenced to death, which was later reduced to twenty years hard labour on Robben Island.

Prince Umhalla himself, born most likely in the late 1830’s, was one of a select group of Xhosa royal children chosen to be sent to Cape Town in 1850 immediately prior to outbreak of the war as part of the British strategy to ‘assimilate’ local power centres into the colonial economy and structures.

It was during this period that Umhalla met the young Rev. Francis Fleming at a Xhosa Kraal. Umhalla and Fleming struck up a friendship, with Umhalla promising his pipe as a gift to Reverend F. Fleming. Shortly after their meeting the Xhosa War broke out and the two did not meet again until three years later, in August 1853, when Umhalla, remembering his promise, gifted the pipe to Fleming.

In later life, Umhalla remained a respected senior member of the Xhosa tribe.

In 1878 he became one the first citizens in Cape Colony to be charged with treason for refusing to favour the Colonial War against the Ngqika Xhosa of Ngcayecibi. After this period, he worked Cape Colony legal system and when on to edit the first Xhosa language newspaper. He was also noted as being one of the finest cricket players in South Africa.

£800-1,200

164 ZULU DANCE STAFF SOUTH AFRICA carved wood, the long shaft leading to an off-set finial with raised ridges and incised zig-zag border 81cm long Provenance: Bernice and Terence Pethica Collection, United Kingdom Published: Klopper, Nettleton and Pethica, The Art of Southern Africa, The Terence Pethica Collection, 2007, p. 178-179, n° 88 Note: “The slightly off-centre placement of the head of this dance staff imparts a quirky individuality that contributes to the overall vitality of its form.

Because staffs like these had to withstand vigorous beatings against small dance shields on festive occasions like weddings and celebrations in honour of ancestors, they were commonly made from hard woods. This also helps to explain why the carving of decorative details like the fluting and zig-zag motifs on this example are fairly robust.”

Klopper, Nettleton and Pethica, 2007.

£600-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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THE KEIR McGUINNESS COLLECTION OF AFRICAN TEXTILES LOTS 165 TO 217

Collecting for some is the overriding need to discover, long before others do, works and objects of great beauty and importance.

As a collector of contemporary art I long ago realised that African textiles were just such works.

My journey into contemporary art started as a school boy who had the good fortune to be taught by two teachers, Royal College of Art graduates, who used the works of Paul Klee as the basis upon which to interrogate the world around me. It was in this environment that I remember coming across a photograph of Hans Hofmann in his studio sitting beneath an African textile as modern and compelling as any of his works.

Fast forward to the 1980s onwards when I would trawl the galleries and flea markets of London, New York, and Germany, looking and absorbing as I went. Always curious, never an expert. Then one day, whilst passing through just such a market, I came across a pile of textiles which reignited my schoolboy enthusiasm. From that moment on and under the guidance of the talented Karun Thaker, and latterly encouraged by the astonishing collector Alastair McAlpine, I began to assemble what today is the group of textiles being offered for sale.

Each textile carries with it the layers of Western modernism explained more competently in the following essay

by Liberty Paterson. It is for me, as a collector, greatly satisfying to see that the world is finally recognising the originality, the vigour, the brilliance and importance that African textiles play in the development of Western art of the 20th century, without which Cézanne, Klimt, Picasso, Matisse, Klee, Hofmann, Delaunay, and many more artists and “isms” would have been diminished.

Equally important is the ongoing “circular legacy” that such modernist artists have become part of, as can be appreciated in the modern and contemporary works of African and African diaspora artists, from El-Salahi through to Anatsui, Shonibare, Wiley, and many more.

Keir McGuinness

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UNRAVELLING THE VISUAL LEGACIES OF AFRICAN TEXTILES IN MODERN & CONTEMPORARY ART The rich collection of African textiles being offered reflects the extensive aesthetic legacies that have permeated modern art and continue to influence contemporary art globally. The collection includes textiles showcasing weaving and pattern styles from across Africa, with a strong focus on sub-Saharan and West African regions in particular. Early examples in the collection give a sense of the historical nature of the textile traditions represented, with pieces dating from the nineteenth century.

It has long been noted that Western modernism was heavily influenced by African artistic traditions. Comparisons have often focused on Cubism’s links with African sculptural and architectural aesthetics. The wide-ranging traditions of African textiles in this collection can offer further visual connections woven throughout modern and contemporary art history. In this sense, the textiles come to represent enduring aesthetic legacies that have informed some of the most renowned artists.

The varied aesthetics of African textiles continue to influence contemporary art globally. African American artist, Kehinde Wiley, draws on West African textile design in the patterned backdrops that encroach on his portraits of black sitters in an aristocratic style recalling Old Master paintings. British-Nigerian artist, Yinka Shonibare, uses the colonial legacy of Ankara fabric in his work to subvert Western art traditions and comment on globalisation and the construction of culture. Ghanaian sculptor El Anatsui creates intricate cloth-like sculptures using thousands of shards of recycled aluminium bottle caps, which give the effect of shimmering patterned textiles whilst simultaneously embodying Western commercial

influence in Africa. The appeal of African textiles for contemporary artists seems to be linked to their cyclical role in global commercial trade, which can serve to reflect experiences of diaspora communities and disrupt the linear history of Western modernism.

There is another circular legacy at play, as a number of African abstract artists working in the mid-twentieth century have acknowledged being inspired by European modernism. For example, Sudanese artist, Ibrahim El-Salahi, admired artists like Cézanne who he encountered when studying at the Slade in London. As such, his artwork draws on a Western generation’s take on African artistic traditions that he then combines with Arabic calligraphic forms derived from his North African heritage. Shonibare is now exploring the art historical influence of African art further in an exhibition based on Picasso’s collection of African art this June.

The textile collection being offered here includes a number of pieces from the Kuba peoples of the Democratic Republic of Congo. The Kuba textile tradition has begun to be linked to Western modernism, including through the exhibition, Kuba Textiles: Geometry in Form, Space, and Time, held at the Neuberger Museum of Art, New York in 2015. The quirky geometries that characterise the raffia cloth designs of Kuba textiles, as seen in lot 187, a Kuba skirt from the early twentieth century, predate the comparable whimsical forms in the well-known abstract paintings of Picasso, Klimt and Matisse. The artists may well have first come across Kuba textiles at African art exhibitions in Paris during the late nineteenth century.

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Henri Matisse went on to collect Kuba textiles in the last decade of his life and hung his collection on the walls of his studio alongside the similarly experimental patterns of the cut-out collage works he was creating in his final years. Matisse remarked on the endless inspiration the textiles offered him, commenting, ‘I never tire of looking at them for long periods of time, even the simplest of them, and waiting for something to come to me from the mystery of their instinctive geometry.’ Klimt’s golden period works, crowned by his monumental 1901 Beethoven Frieze, also draw on multiple elements distinctive to Kuba textiles. The works echo the combination of complex interlocking patterns alongside sparser panels in the designs of Kuba textiles and feature a similar palette of natural tones. It is not surprising to learn that Klimt was also a collector of Kuba textiles, further cementing that his visual language is rooted in this central African aesthetic.

Beyond the examples of Kuba textiles, the collection features numerous pieces from the Ewe peoples of coastal Togo and eastern Ghana, where the stripweaving technique has been perfected. Ewe designs like lot 210, an early twentieth century Ewe kente cloth, offer complex patterns with colour and form expertly balanced to create enveloping compositions. The visual language feels familiar and can begin to recall the vivid abstract geometries of Western artists Paul Klee and Hans Hofmann. Both Klee and Hofmann were influenced by Cubism and the colour palettes of artists like Robert Delaunay and Matisse. In making these links to Western modernism the artists were in turn heavily indebted to the visual languages of African art and textiles, given that they had informed these avant-garde European movements so strongly.

Klee felt his sense of colour and focus on abstraction had been transformed through a visit to Tunisia in 1914. He went on to create paintings characterised by rectangular blocks patterned in complimentary and dissonant colours which strongly invoke the West African Ewe textile designs. Works like Ancient Harmony from 1925 suggests in its title that its aesthetic rhythm is linked to prior traditions, and the crossover with the colours and forms of Ewe stripweave is striking. Hofmann became seen as a pioneer of Abstract Expressionism, but his works retained a sense of pictorial structure that also bear strong visual parallels to the geometric designs of Ewe textiles. The vibrant overlapping rectangles of his 1958 work Morning Mist, can in this sense be viewed as an expressive visual legacy connected to the colourful stripweave patterns developed by the Ewe peoples. Hofmann’s role as teacher to many American Abstract Expressionist artists meant his visual language would be built upon by a later generation of Western artists further distanced from its aesthetic parallels with African textile patterns.

Seeing the collection of textiles together shows the continuation of these seminal and enduring visual traditions over time and across different African regions. From the bolder colourful patterns to the subtler, intricate weaves of the more natural toned styles, the collection shows the ways in which African textile practice foregrounds various modes of artistic abstraction. Each textile offers a unique material link to modern aesthetics rooted in African design, with a continued legacy in contemporary art today.

Liberty Paterson, 2021

Above Lot 210 [detail]

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165 ASHANTI KENTE CLOTH GHANA dyed silk and cotton fabric, strip woven with weft float geometric motifs 336cm x 230cm

£200-300

166 FOUR ADINKRA CLOTHS GHANA strip cloth, the first with a series of separate panels, each block printed with geometrical designs on a yellow ground, the strips sewn together with multicoloured thread; the second block printed on a black cotton ground, the strips sewn together with multicoloured thread; the third block printed on a white cotton ground, the strips sewn together with multicoloured thread; the fourth block printed on a maroon cotton ground, the strips sewn together with multicoloured thread (4) largest 336cm x 211cm Note: For a similar example please see; The Metropolitan Museum of Art, New York, accession number 2015.614.6

£400-600

167 DISPLAY CLOTH, NDOP CAMEROOON hand spun cotton 206cm x 91cm

£150-250

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168 SUPERB EWE MAN’S CLOTH EASTERN GHANA OR TOGO hand and machine spun cotton, with elaborate weft-float motifs including scissors, knives, hats, combs and geometric forms 296cm x 198cm

£600-900

169 KUBA DANCE SKIRT DEMOCRATIC REPUBLIC OF CONGO raffia with stitched appliqué decoration, formed of seven panels, with profuse geometric designs throughout, a thin section of cross designs at one end 540cm x 78cm

£200-300

170 KUBA WOMANS DANCE SKIRT DEMOCRATIC REPUBLIC OF CONGO raffia and textile, a red fabric border frames a white and navy patchwork with additional overlaid yellow dyed elements 410cm x 57cm Note: “Decorated dance skirts of all types were primarily worn by higher-status individuals at various Kuba court ceremonial events (most of which have rarely been held in recent years), and at still-important funeral rites. A clan would honour the death of a high-ranking member with an elaborate display of raffia textiles and costume items adorning the corpse and the funerary display space, as well as the accompanying dancers.”

Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 232

£150-250

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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171 EWE MOURNING TEXTILE GHANA / TOGO woven cotton, twenty-five strips 304cm x 211cm

£200-300

172 EWE CLOTH EASTERN GHANA / TOGO hand spun cotton, with alternating blocks and narrow weft stripes in a multitude of colours 304cm x 157cm

£200-300

173 MENDE PRESTIGE DISPLAY CLOTH SIERRA LEONE hand spun cotton, adorned with geometric designs 355cm x 142cm Published: Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 202.

Note: “Early 20th century, this cloth would have been hung as a backdrop for important village and family events.”

Clarke, D., 2015. African Textiles.

£250-350

174 EWE MAN’S KENTE CLOTH EASTERN GHANA / TOGO strip cloth, with a number of extra-weft float patterns 290cm x 172cm

£250-350 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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175 PAIR OF YORUBA MEN’S ROBES, AGBADA NIGERIA silk and hand spun cotton, the first with an embroidered pattern in yellow thread across the chest; the second with a embroidered pattern onto a red and white striped cotton fabric (2) largest 274cm x 124cm Literature: Cf. Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 152.

£300-500

176 YORUBA MEN’S CLOTH NIGERIA strip woven cloth, deep indigo and white chequered panels 211cm x 169cm

£200-300

177 EWE CHEQUERED CLOTH TOGO machine dyed cotton, strip woven with a bold chequer pattern executed in white, green, red and yellow 188cm x 99cm

£200-300

178 EBIRA WRAPPER CLOTH NIGERIA indigo dyed cotton, with bands of embroidered birds framed by geometric forms 241cm x 160cm

£200-300

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179 BONDOUKOU MEN’S WRAPPER CLOTH IVORY COAST hand spun cotton, machine coloured thread 324cm x 224cm

£150-250

180 EARLY EWE CLOTH TOGO / EASTERN GHANA strip woven cotton, formed of twenty strips, navy blocks on an cool yellow ground, the central strip unadorned and signed, the design becoming irregular on the opposing side, weft float motifs throughout 304cm x 155cm

£300-500

181 ASHANTI CLOTH GHANA strip woven cotton, formed from twenty-one separate strips, with weft float patterns throughout 254cm x 142cm

£150-250

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182 FINE WOMAN’S WRAPPER CLOTH, IBORUNLA NIGERIA silk and hand spun cotton 154cm x 114cm Literature: Cf. Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 137.

Note: “Senior [figures] sometimes wore a large wrapper cloth on top of a tailored robe ensemble. This example, woven with silk from the trans-Saharan trade, would have been extremely expensive and prestigious.”

Cf. Clarke, D. 2015. African Textiles, discussing a similar example.

£400-600

183 FOUR YORUBA CLOTHS, ASO OKE NIGERIA hand dyed cotton, all with a strip design of white, indigo and navy (4) largest 192cm x 134cm

£300-500

184 ASHANTI CLOTH GHANA strip woven hand spun cotton, of bold design, formed from fifteen separate strips, with weft float patterns throughout 193cm x 135cm

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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185 EWE MAN’S CLOTH EASTERN GHANA OR TOGO cotton, in weft faced style with a chequerboard pattern of pink, white, navy and yellow, adorned with weft-float combs within 318cm x 104cm

£300-500

186 SONINKE OR BAMANA BLANKET MALI hand-spun cotton, with a white and blue checked pattern 183cm x 102cm

£150-250

187 KUBA DANCE SKIRT DEMOCRATIC REPUBLIC OF CONGO raffia with stitched appliqué decoration, formed of nine panels, with profuse geometric designs on the left contrasted by more subtle forms on the right 581cm x 83cm Published: Clarke, D. 2015.

African Textiles, London: Prestel Publishing. p. 234

£300-500

188 PAIR OF KUBA DANCE SKIRTS DEMOCRATIC REPUBLIC OF CONGO raffia with stitched appliqué decoration, both with meandering geometric decoration throughout (2) largest 541cm x 80cm

£200-300

87

189 WOMAN’S SHAWL OKPELLA, NIGERIA hand spun cotton and ikat resistance dye 116cm x 76cm Published: Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 128.

Note: “Woman’s shawl cloth or waistcloth. Okpella village group, Nigeria. Hand-spun cotton, early to mid 20th century. Such cloths were worn by senior women on ceremonial occasions.”

Clarke, D., 2015. African Textiles.

£100-150

190 FOUR ADINKRA CLOTHS GHANA strip cloth, the first with a series of separate panels, each block printed with geometrical designs on a blue ground, the strips sewn together with multicoloured thread; the second of similar design to the first; the third block printed with geometrical designs on a yellow ground within maroon squares; the fourth of similar design to the third (4) largest 356cm x 231cm

£400-600

191 EWE WOMAN’S CLOTH EASTERN GHANA OR TOGO hand spun cotton, of chequerboard design 330cm x 214cm

£250-350

192 YORUBA ADIRE TEXTILE NIGERIA dyed cotton, with rows of light blue circles on a navy ground 204cm x 173cm

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

88

193 PAIR OF YORUBA WOMEN’S WRAPPER CLOTHS NIGERIA hand spun indigo dyed cotton and magenta silk, with strip design (2) 194cm x 143cm

£400-600

194 PAIR OF EWE TEXTILES EASTERN GHANA OR TOGO strip woven cotton, the first formed of twenty strips with weft facing bands on a red, grey and pink ground with weft float motifs in orange; the second formed of twenty-five strips with various weft float patterns of fish, combs and geometric forms (2) largest 360cm x 178cm

£200-300

195 PAIR OF HAUSA MAN’S TROUSERS NIGERIA hand-spun cotton with an elaborate threaded pattern (2) largest 194cm x 86cm Literature: Cf. Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 154.

Note: “Voluminous trousers that used unnecessarily large amounts of cloth were a display of conspicuous wealth for Hausa and Yoruba chiefs and kings.”

Clarke, D., 2015. African Textiles.

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

89

196 FINE ASHANTI KENTE CLOTH GHANA strip woven cotton, with central blocks of geometric design achieved by combining three strips, an exceptionally vibrant design 381cm x 224cm Published: Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 51.

Note: Clarke (2015) speculates that it is possible the present piece, though expressing Ashanti designs throughout, may be the work of an Ewe weaver.

£500-800

197 ASHANTI KENTE CLOTH GHANA strip woven cotton, formed of twenty-two strips, a bold design with a regular series of weft faced bands containing a zig-zag motif of yellow, black and green thread 336cm x 211cm

£300-500

198 GURO OR MANDE MANS CLOTH IVORY COAST hand spun cotton with indigo dye, with a supplementary weft float pattern to the right 238cm x 160cm Note: Traditionally worn by Gouro, Mande and occasionally Baule men, the present example is unusual in that the weft float pattern appears to the side rather than centrally.

£150-250

90

199 YORUBA MANS WRAPPER CLOTH, ASO OLONA NIGERIA hand and machine spun cotton, four panel weave 240cm x 179cm Published: Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 149.

£400-600

200 PAIR OF YORUBA WOMEN’S WRAPPER CLOTHS, ASO OKE NIGERIA hand dyed cotton, both with a strip design of white, indigo and navy (2) largest 192cm x 130cm

£200-300

201 ASHANTI MAN’S KENTE CLOTH GHANA cotton, mixed strip cloth 304cm x 250cm Literature: Cf. Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 45

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

91

202 ASHANTI MAN’S WRAPPER CLOTH GHANA cotton, mixed strip cloth 276cm x 191cm

£150-250

203 FULANI BLANKET MALI hand-spun cotton, with a white and blue checked pattern 304cm x 160cm

£100-150

204 GROUP OF WEST AFRICAN TEXTILES WEST AFRICA including; a pair of Hausa mens trousers with an elaborate threaded pattern; three Yoruba textiles and two further West African textiles with a strip pattern (6) largest 172cm x 135cm

£150-250

205 PAIR OF EWE CLOTHS EASTERN GHANA OR TOGO strip woven cotton, both in blue, navy and white, with weft float patterns in yellow and red (2) 316cm x 188cm

£200-300

92

206 ADINKRA CLOTH GHANA printed on an orange cotton ground largest 344cm x 256cm

£200-300

207 MENDE CLOTH SIERRA LEONE hand spun cotton and machine coloured thread, strip woven with a central weft float comb pattern 518cm x 224cm

£150-250

208 EWE CLOTH TOGO / EASTERN GHANA strip woven cotton, formed of thirteen strips, with blocks of three weft facing bands, weft float motifs of human figures, fish, hens and hands at the centre 192cm x 112cm Note: A creative piece, with the weft float motifs appearing to the side of rather than within the weft facing bands as would be more typical. The use of three weft facing bands rather than two suggests an early 20th century date.

£200-300

209 EWE MAN’S CLOTH TOGO / EASTERN GHANA hand and machine spun cotton, white and blue, with embroidered weft-float motifs of geometric forms 320cm x 173cm

£300-500

93

210 FINE EWE CLOTH EASTERN GHANA OR TOGO strip woven cloth, machine coloured thread, formed of twenty-two strips, varied weft float motifs including knives, hands, combs and geometric forms, kaleidoscopic palette 288cm x 170cm

£400-600

211 PAIR OF HIGH ATLAS WOMENS SHAWLS, IZAR MOROCCO wool, henna dye and coloured silk, synthetic fringes (2) 120cm x 65cm

£150-200

212 GROUP OF FIVE INDIGO TEXTILES WEST AFRICA hand spun cotton and indigo dye (5) largest 284cm x 187cm

£350-550

213 ASHANTI CLOTH GHANA hand woven cotton, formed of twenty-two separate strips, with free weft float designs on a vivid red ground 304cm x 191cm

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

94

214 TRIO OF WOMEN’S WRAPPER CLOTHS IGARRA, NIGERIA hand spun cotton and ikat resistance dyed (3) 172cm x 125cm Literature: Cf. Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 129.

Note: Literature: Cf. Clarke, D. 2015. African Textiles, London: Prestel Publishing. p. 202.

Note: “Igarra, a small town near the confluence of the Niger and Benue Rivers in cnetral Nigeria was one of the very few sites where ikat dyring was practiced by women weavers.”

Clarke, D., 2015. African Textiles.

£200-300

215 YORUBA MAN’S WRAPPER CLOTH, ASO OLONA NIGERIA hand and machine spun cotton, four panel weave 212cm x 159cm Published: Clarke, D. 2015.

African Textiles, London: Prestel Publishing. p. 140.

Note: “These four panel women’s weave cloths were worn as insignia of office by elderly men belonging to a society called Ogboni that maintained a shrine to the Earth and had an important role in the selection of Yoruba kings. The designs are said to represent water spirits.”

Clarke, D., 2015. African Textiles.

£250-350

216 YORUBA MEN’S WRAPPER CLOTH, ASO OKE NIGERIA strip woven, composed of ten strips, each with a central band of text 192cm x 122cm

£100-200

217 YORUBA WOMAN’S WRAPPER CLOTH, ELEJO NIGERIA hand spun cotton, indigo dyes with figural motifs 184cm x 140cm Note: The present piece would have been reserved only for the highest status families, serving as a marriage cloth. (Thakur: 2015)

£300-500

95

218 PAIR OF BOGOLAN FABRICS MALI cotton weave, dyed with earthen pigments (mud dye) with abstract motifs expressing traditional social and moral concepts (2) largest 154cm x 89cm Provenance: Private collection, United Kingdom

£150-250

219 FULANI ARKILA MUNGAWA MALI wool and cotton weave, dyed using vegetal and mineral pigments, strip cloth with intricate designs in red, yellow, blue and white, ten narrow blue and white strips are combined in a chequerboard pattern, with additional floating motifs in red and yellow, four additional strips along each side feature simpler designs 360cm x 163cm Provenance: Private collection, United Kingdom

£300-500

Note: The Arkilla Kunta is a luxury item among the semi-nomadic peoples of the Sahel. Produced by male Fulani weavers using a double-heddle backstrap loom, with designs partly based on North African (Berber) traditions. Usually woven on commission only and intended for use as a tent-divider or marriagebed curtain.

For an inferior example, please see; The British Museum, London, accession number Af2006,23.4

220 FULANI ARKILA KERKE MALI wool and cotton weave, dyed using vegetal and mineral pigments, strip cloth with intricate designs in russet, yellow, blue and white, six matching decorative strips are subdivided into horizontal bands or chequerboard designs, some solid but most featuring very elaborate floating motifs, the seventh band intended for hanging features a simpler design 470cm x 170cm

Note: An exquisite and complete example of a classic Fulani design from the Inner Niger Delta in Mali. This cloth forms an essential part of a bride’s trousseau and is intended for use as a tent-divider or marriage-bed curtain. Typically, the bride’s female family-members spin and dye the thread. A male weaver from the ‘Maabo’ clan is then commissioned to weave the strips and sew them together, a process which can take several months.

Provenance: Private collection, United Kingdom

£300-500

For a similar example please see; Fine Arts Museums of San Francisco, accession number 2000.204.10 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

96

221 SONGHAY ARKILA JAANGO MALI wool and cotton weave, dyed using vegetal and mineral pigments, strip cloth with intricate designs in red, yellow, blue and white, ten narrow blue and white strips are combined in a chequerboard pattern, with additional floating motifs in red and yellow. four additional strips along each side have somewhat simpler designs 440cm x 135cm Provenance: Private collection, United Kingdom Note: A superb example of a complete Arkilla Jenngo, traditionally produced by Songhayspeaking weavers using a double-heddle backstrap loom. This a luxury item among the seminomadic peoples of the Sahel, intended for use as a tent-divider or marriage-bed curtain and woven on commission.

For a similar example please see; Fine Arts Museums of San Francisco, accession number 2004.8

£400-600

222 COLLECTION OF FOUR KUBA SHOOWA CLOTHS DEMOCRATIC REPUBLIC OF CONGO raffia stem-stitch and cut- pile embroidery, each presented on a fabric mount (4) largest 56cm x 74cm Literature: Cf. Vanessa Drake Moraga, 2011. Weaving Abstraction: Kuba Textiles & the Woven Art of Central Africa. The Textile Museum: Washington D.C., USA. Provenance: Private collection, United Kingdom

£400-600

223 PAIR OF KUBA SHOOWA TEXTILES DEMOCRATIC REPUBLIC OF CONGO raffia palm fibre, cut pile embroidery, consisting of; two textile panels, one with tasselled fringe, both framed largest 103cm x 102cm (incl frame) Provenance: Private collection, United Kingdom

£300-500

Right Lot 234 [detail] Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

97

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

98

ABORIGINAL & OCEANIC ART

224 ABORIGINAL WAR SHIELD, WUNDA WESTERN AUSTRALIA wood and pigment, of long elliptical form, decorated with zigzag patterns consisting of a series of longitudinal grooves divided into three sections, coloured with red and white ochre, with an old bush repair to the top left corner 79cm tall Provenance: Private collection, London, United Kingdom

£800-1,200

225 ABORIGINAL WAR SHIELD, WUNDA WESTERN AUSTRALIA carved wood, of slender elliptical form, with grooved incising separated into three panels, the reverse with four incised panels of crosses and an integral handle with patina of use 83.6cm long Provenance: Private collection, United Kingdom

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

99

226 ABORIGINAL CLUB AUSTRALIA carved wood and pigment, the long oblong club decorated with bands of deep red and brown separated by incised lines, raised on a bespoke mount 97.5cm tall Provenance: Private collection, United Kingdom

£250-350

227 ABORIGINAL SPEAR THROWER, WOOMERA WESTERN AUSTRALIA carved and incised wood with gum handle, tooth incised decoration, hook attached with fibre and a red ochre wash, presented on a bespoke mount 61cm tall Provenance: Lindsay Black (1886-1959), Australia Wayne Heathcote, United Kingdom Private collection, London, United Kingdom

£400-600

228 ABORIGINAL SPEAR THROWER, WOOMERA AUSTRALIA carved and incised wood with gum handle, hook attached with fibre and a red ochre wash, presented on a bespoke mount 57cm tall Provenance: Private collection, United Kingdom, acquired on the London art market

£400-600

100

229 ABORIGINAL CLUB SOUTH AUSTRALIA

230

carved wood, with a long shaft and bulb head pointed at the tip, with incising to the base, rich patination

ABORIGINAL SHIELD AUSTRALIA carved wood, broad angled form, incised with geometric forms, bird and plant motifs, solid cut rear handle with patination from use

49.8cm long Provenance: Private collection, United Kingdom

66cm tall

£250-350

Provenance: Private collection, Scotland, acquired c. 1970s

£1,000-1,500

231 LARGE ABORIGINAL BOOMERANG AUSTRALIA carved wood, of typical curved and tapered form 79.9cm long Provenance: Private collection, Scotland, acquired 1970s

£200-300

232 ABORIGINAL SHIELD CENTRAL DESERT, AUSTRALIA carved wood, of oval form, with an integral handle to the reverse, covered in an ochre wash 61.6cm tall Provenance: Private collection, United Kingdom

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

101

233 TRIO OF ABORIGINAL YOLGNU DANCE SPEARS LIKELY ELCHO ISLAND, ARNHEM LAND, NORTHERN AUSTRALIA carved wood and pigment, all three with a long rounded handle, lateral carved projections, a central panel with lined and dotted motifs executed in white, black and yellow pigment, tapering into a point. All three with an ochre wash, all presented on bespoke mounts (3) tallest 140cm high Provenance: Private collection, United Kingdom

£1,500-2,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

102

234 JACK DEMPSEY, SONGLINES NORTHERN TERRITORY, AUSTRALIA synthetic polymer paint on canvas 182cm x 125cm Provenance: Rebecca Hossack, London, United Kingdom

235

Private collection, United Kingdom, acquired from the above, 1988

BILLY STOCKMAN TJAPALTJARRI (ANMATYERE 1927-2015), CARPET SNAKE DREAMING AT KARRINYARRA

£5,000-7,000

NORTHERN TERRITORY, AUSTRALIA synthetic polymer paint on canvas 91cm x 60cm Provenance: Rebecca Hossack, London, United Kingdom Private collection, United Kingdom, acquired from the above, 1988 Note: The Dreamtime Carpet Snake is here shown at Karrinyarra (Central Mount Wedge). The background patterns appear as body paint used in the Mallierra ceremonies associated with this story.

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

103

104

236 BARAVA RING CHOISEUL, SOLOMON ISLANDS carved tridacna shell, topped by a pair of birds 6.7cm diameter Provenance: Private collection, United Kingdom

£150-250

237 PAIR OF SPEARS BOUGAINVILLE ISLAND, SOLOMON ISLANDS palmwood, bone, pigment and fibre binding, both of typical long form, the head with barbs formed from the wing bones of the flying fox fixed with grass fibre, with smaller barbs perpendicular to the shaft below, further held in place by fibre basketwork dyed in red and yellow, a kagoi ancestor figure carved above a closely packed bulb of vegetal fibre (2) 3.2m long Provenance: Private collection, Scotland

£400-600

238 CHEST ORNAMENT, MOKA KINA WESTERN HIGHLANDS, PAPUA NEW GUINEA wooden board covered with pigmented mud and gum, with inset kina shell and boar tusks, a vegetal fibre necklace at the top from which hang interconnected circular strands of fibre, marsupial jaw bones hanging below 62.5cm tall Provenance: Private collection, United Kingdom

£300-500

239 PAIR OF FOOD BOWLS PAPA NEW GUINEA carved wood, the first with a deep bowl, rounded sides tapering to a subtle point at the square-sectioned handle, traces of red pigment within; the second of rhomboid form with rounded edges, traces of red pigment within and an integral handle with central perforation (2) longest 56.5cm Provenance: Private collection, Sydney, Australia

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

105

240 COCONUT SHELL SPOON PAPUA NEW GUINEA carved and polished coconut shell, with a deep bowl and anthropomorphic handle 11cm long Provenance: Private collection, United Kingdom

£150-250

241 FEASTING PLATTER PAPA NEW GUINEA carved and painted wood, with an integral looped handle in the form of a crocodile, unadorned with the exception of an incised waved border, the reverse deeply incised and coloured in red and white pigment 126cm long Provenance: Private collection, ItalyCzerny’s Auctioneers, Italy Private collection, London, United Kingdom

£300-500

242 ADMIRALTY ISLANDS COMB PAPUA NEW GUINEA bush putty over palm ribs, the handle adorned with an open mawed face and a crocodile finial, traces of lime remain 24.2cm tall Provenance: Private collection, United Kingdom

£150-250

243 RAMU RIVER BOWL PAPUA NEW GUINEA carved wood, the deep elliptical bowl with alligator handle finials, rich patination from use 43.2cm long Provenance: Private collection, United Kingdom

£150-200

106

244 MASSIM CLAPPER SPATULA PAPUA NEW GUINEA carved wood, with a central section of carved and incised detailing, the handle cut vertically into two sections to form a clapper 34cm long Note: The “clapper type” example present here holds an interesting dual function. As well as their primary purpose in preparing betel nuts for consumption, clapper spatulas also act as musical instruments. The handles of these spatulas are cut vertically into two and the centre is hollowed out to form a sounding cavity. When shaken or struck against the hand it produces the characteristic “clap”. Whilst in some mainland communities they are simply utilised to accompany singing and dance, on the Trobriand Islands clappers are reserved for chiefs to use to warn others of their approach. (Metropolitan Museum of Art 2017).

Provenance: Private collection, United Kingdom

£150-250

246 MASSIM STAFF PAPUA NEW GUINEA carved wood, the long shaft with incised scrolling detail accentuated with lime, surmounted by a crouching figure, the base marked with inventory number “044” 92cm tall Provenance: Private collection, United Kingdom

£200-300

245 MASSIM LIME SPATULA PAPUA NEW GUINEA carved wood, with a seated figure terminal and scrolling detail 25.5cm long Provenance: Private collection, United Kingdom

£200-300

247 MASSIM CLUB PAPUA NEW GUINEA carved wood, the handle with circular pommel adorned with incised eyes, the paddle shaped blade carved with swirling designs 60.5cm long Provenance: Private collection, United Kingdom

£150-250

107

248 SHARK TOOTH SWORD GILBERT ISLANDS, KIRIBATI wood, shark tooth and fibre, the long palm wood handle with tooth blades attached by fibre 85.5cm long Provenance: Private collection, United Kingdom

£300-500

249 PAK ISLAND CURRENCY NECKLACE ADMIRALTY ISLANDS, PAPUA NEW GUINEA beads and teeth, presented on a bespoke wood and fabric display 24cm long Provenance: Private collection, United Kingdom

£200-300

250 KANAK GOURD NEW CALEDONIA gourd and vegetal fibre, the ochre gourd criss-crossed with intricate binding 21cm tall Provenance: Private collection, Scotland

£300-500

251 COCO DE MER SHELL SEYCHELLES lodoicea maldivica, of typical form, unpolished 26.5cm tall Provenance: Private collection, United Kingdom

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

108

252 FIGURAL KAVA BOWL, DAVENIYAQONA FIJI carved wood, the bowl in the form of a shallow figure with the head in high relief, the lips subtly parted, the eyes hollow, with a raised ridge above the brow, the reverse with a lug at the nape of the neck for attachment, dual wooden roundels and raised sections at the heels, dark patination, kava deposits to the hands and feet 26.5cm tall Provenance: Private collection, United Kingdom, acquired by the present owner’s father c. mid 1960s, thence by descent

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

109

Of exceptional rarity, fewer than ten of these bowls (daveniyaqona) are known to exist. Carved in the form of a shallow figure, they were used for both the consumption of kava (yaqona) by priests during religious rites and to hold sacred oil.

In Fiji, the consumption of kava would accompany important social-political events and religious ceremonies. The daveniyaqona dish was specifically associated with the burau drinking rites, whereby a highly concentrated solution was poured into the bowl without the usual dilution using water.

The kava was then consumed by priests using a straw also known as a burau. The strength of the resulting reaction enabled

powerful forces to enter the priest’s bodies, allowing communion with ancestor spirits.

The complex shapes of bowls used for such rituals are also known in the form of birds (Sainsbury Collection: UEA 912) and turtles, however the sheer scarcity of the anthropomorphic type suggests they were produced at a single centre.

The present example shows a deep dark patination indicative of use. With wear to the rim, attachment lug and extended heels at the reverse. Kava deposits are present from pooling at the hands and feet of the figure, similar (though less profuse) to that seen in an example at the Metropolitan

Museum of Art, New York (accession number 2018.433). Interestingly, the very subtle slant in the shoulders present in that example is also present here.

The brooding face and formidable build combined with the flowing curves create a powerful and arresting visage. The parted lips and hollow eyes seem to suggest a trance, echoing the context of its original use (Nuku: 2020). In stylistic terms, the piece bears closest similarity to an early 19th century example collected by Captain Henry Denham of the HMS Herald in 1854, now displayed in the Pitt Rivers Museum (accession number 1884.65.40).

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

110

253 FIJIAN THROWING CLUB, ULA FIJI carved wood, the bulb head with a series of incisions running along half with the other side unadorned, topped with a knobble finial, the long handle flaring at the base, rich patination 40.5cm long Provenance: Private collection, United Kingdom

£300-500

254 BOW LIKELY FIJI carved wood, of exceptional length, subtle curved form, small recessed sections at the tips for the attachment of a string, rich patination 208.2cm long Provenance: Private collection, Scotland

£200-400

255 WAR CLUB FIJI carved wood of highly unusual construction, with a long cylindrical shaft flaring at the base, the head with three ridges below carved nodules modelled after the fruit of the pandanus, dual ridges above, patination from age and use 62.9cm Provenance: Private collection, Scotland, acquired c. 1960s / 1970s

£400-600

256 KAVA BOWL FIJI carved wood, standing on eight legs, with a deep bowl stained from use and pierced lug handle 40.5cm diameter Provenance: Kilmany House, Fife, Scotland, acquired early 20th century, thence by descent

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

111

257 SPEAR CLUB POLYNESIA, LIKELY AUSTRAL ISLANDS carved palm wood, paddle blade with subtle central ridge, double collar and pair of raised flanges at the base of the shaft 182cm long Provenance: Private collection, Scotland

£1,500-2,500

258 CEREMONIAL DANCE PADDLE AUSTRAL ISLANDS carved wood, with intricate carving throughout, the paddle blade leading to a long cylindrical shaft and square handle (as opposed to the more common rounded handle) with dual rows of ceremonial dancing figures holding their hands to the sky, with a dark brown patina, presented on a bespoke wooden mount 99cm tall Provenance: Private collection, United States Private collection, London, United Kingdom

£2,500-3,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

112

259 EXCEPTIONALLY LARGE MAORI PANBONE PATU NEW ZEALAND carved spermwhale panbone, finely carved with worn ribbing on the butt of the handle, a rounded concave suspension hole and teardrop shaped blade, deep patination indicative of extensive age and use 50.1cm long Provenance: Private collection, central Scotland, acquired by the consignor’s father c. mid 20th century and thence by descent Note: For a similar example please see; Kaeppler, A.L. 1978. Artificial Curiosities, being an exposition of native manufactures on the three Pacific Voyages of Captain James Cook. p. 190, fig. 372

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

113

260 MAORI PENDANT, HEI TIKI NEW ZELAND carved nephrite and pāua shell, the ornament with carved features, the head angled and arms shown held to the legs, eye inlaid with shell, the reverse with an old label reading “Artefact from New Zealand Maori .1801.43” 6cm high Provenance: Private collection, Scotland, the old label on the reverse is suggestive of an early 19th century collection date

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

114

261 MAORI KAURI GUM BUST NEW ZEALAND painted and carved kauri resin, depicting a ranking female with moko, the hair falling to the shoulders, covered with a feather cape, contained within a wooden display case bordered with small scallop shells 27.5cm x 24cm (incl frame) Provenance: Private collection, United Kingdom

£300-500

262 TRIO OF MAORI EAR ORNAMENTS, KURU NEW ZEALAND carved and polished jade, two of elongated oval form, with perforation to the top; the third with a similar perforation to the top, with a subtle curve at the base (3) longest 8.7cm Provenance: Private collection, United Kingdom

£400-600

263 MODEL OUTRIGGER CANOE VANUATU carved wood, fibre string and fabric triangular sail 100.6cm long Provenance: Private collection, Scotland

£100-200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

115

ASIAN ART

264 DAYAK SLEEPING MAT CENTRAL BORNEO, INDONESIA woven and dyed rattan fibre 186cm x 94cm Provenance: Private collection, United Kingdom

265 SASAK FISHING BASKET LOMBOK ISLAND, INDONESIA carved wood base and woven bamboo body, with vegetal fibre carrying handle 23.5cm tall Provenance: Private collection, United Kingdom

£600-900

£50-100

266 NAGA PIPE INDIA carved wood, the bowl in the form of a human head with prominent nose and pierced ears, dual stems, the uppermost of which adorned with skulls running along the border 16.1cm long Provenance: Private collection, United Kingdom

£300-500

267 AFGHAN LOW CHAIR AFGHANISTAN, 19TH CENTURY carved wood and vegetal fibre, with turned rear backrails joined by a carved centre panel, over a woven reed seat and low turned feet 85cm high Provenance: Private collection, Scotland

£150-250 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

116

268 KAREN HAIR ORNAMENT EASTERN MYANMAR cane teeth affixed to dual boars tusk adornments with thick resin overlay 13cm long Provenance: Julian Harding, London, United Kingdom Private collection, United Kingdom

£250-350

269 TIBETAN WAFER MOLD TIBET carved and incised wood, of rectangular form, auspicious and totemtic symbols incised into each side, rich caramel patina 30.9cm long Provenance: Private collection, London, acquired 2000s

£300-500

270 ANCIENT JAPANESE HANIWA EARTHENWARE FIGURE KOFUN PERIOD, 5TH - 6TH CENTURY 古墳時代 埴輪土製人偶像

formed of low fired red earthenware, depicting a young lady holding a water jug atop her head, she wears a necklace, with triangular nose and oval perforations for the eyes and mouth, raised on a bespoke wooden mount 34cm high Provenance: Found at Shogun-Tsuka, near Haniu village, Gunma Prefecture.

Private collection, United States, acquired at Mathias Komor Gallery, New York, March 31, 1962 Published: Matsubara, M. 2004. Haniwa. Pacific Press Service. Plate 68 Exhibited: Lytton Center, ‘Collectors Choice’, Los Angeles, April 1964 Otis Art Institute, ‘Taste of Angeles’, Los Angeles, March - May 1968

£2,000-3,000 Haniwa (literally “clay cylinder” in Japanese) are hollow earthenware figures that were used to mark the tops of large tomb mounds known as kofun. Created during the Kofun Period (3rd – 6th centuries AD), they date to a preliterate era in Japanese history and are thus a critical visual library of daily life.

The present example was uncovered near Haniu village, Gunma Prefecture, a leading regional centre for the production of haniwa.

Stylistically a similar example can be found at The British Museum (accession number Franks.2210). Yet the depiction, that of a girl holding a water jug atop her head, is an unusual one, with the vast majority of female forms depicting miko. She is also missing the flat shelf-like headdress most often associated with the ritual specialists, once again pointing to the more prosaic yet rare attribution of a worker or servant.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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NORTH & SOUTH AMERICAN ART 271 MAYAN STONE RUNNING SHAMAN MEXICO OR GUATEMALA, CLASSIC PERIOD, C. 600 A.D. jadeite, formed from twenty-one pieces of individually carved and polished pieces, embellished with ground cinnabar, depicting a shaman in motion, elaborate avian headdress, carrying a knife in his left hand and another tool in the right, presented on a bespoke mount figure 10.6cm across Provenance: Walter Vanden Avenne, France, acquired in the 1960s from the Merrin Gallery, New York, accompanied with French export licence

£3,000-5,000

272 PAIR OF PUCARA POTTERY FIGURES PERU painted terracotta, both hollow, the first in the form of a strongly built bull, with concentric circles painted in red, yellow and umber throughout the body, a spout at the back; the second in the form of a horse, wearing full tack, with a loop handle running across the withers, its weight placed slightly towards the back legs (2) longest 39cm Note: For a similar example that sold for $10,000, please see Christie’s, New York, 10th May 2018, The Collection of Peggy and David Rockefeller: Travel and Americana, lot 1084.

Provenance: Private collection, Scotland, acquired mid-20th century in Peru, thence by descent

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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273 IROQUOIS GLENGARRY HAT UNITED STATES fabric and beadwork, with a floral design on a felt backing, fringed with a red fabric border and dual ribbons hanging behind 28.5cm long Provenance: Private collection, United Kingdom

£150-250

274 NAVAJO RUG NEW MEXICO, UNITED STATES flat woven natural churro wool 183cm x 115cm Provenance: Private collection, United Kingdom

£600-900

275 PAIR OF SIOUX MOCCASINS PINE RIDGE, SOUTH DAKOTA, UNITED STATES hide and glass beads, the soles fully beaded (2) 23.5cm long Provenance: Dr. Alan Black Collection, United Kingdom

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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ARCTIC ART

276 MOSESEE POOTOOGOOK (INUIT), HUNTER (THROWING) KINNGAIT, DORSET ISLAND carved green steatite, caribou antler and seal gut, the hunter is shown with their weight on the back leg, preparing to throw a harpoon 15cm high Provenance: The Late Dr Helen E C Cargill Thompson

£150-250

277 OTTOCHIE ASHOONA (INUIT), POLAR BEAR KINNGAIT, DORSET ISLAND carved off-white serpentine 18cm long Provenance: The Late Dr Helen E C Cargill Thompson

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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278 MARKOSIE PAPIGATOK (INUIT), RAVEN MAN KINNGAIT, DORSET ISLAND carved steatite, the standing shaman wearing a raven headdress and with the arms outstretched 15cm high Provenance: The Late Dr Helen E C Cargill Thompson

£200-300

279 EDWARD KIKOAK (INUKTITUT), INUKSHUK SPIRIT TALOYOAK, NUNAVUT carved serpentine, the inukshuk topped by a spirit face inlaid with marine ivory eyes, a bird soars above, attached by an ivory stand 27cm high Provenance: The Late Dr Helen E C Cargill Thompson

£200-300

280 NOAH PARR (INUIT), DANCING WALRUS KINNGAIT, DORSET ISLAND carved speckled steatite, shown balancing on a single flipper, with wooden tusks, signed to base 15cm high Provenance: The Late Dr Helen E C Cargill Thompson

£150-250

281 BERT KIMIKSANA (INUVIALUIT), NARWHAL TUKTOYAKTUK, NORTHWEST TERRITORIES carved caribou antler, signed and dated at base 30cm long Provenance: The Late Dr Helen E C Cargill Thompson

£150-250

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Note: Inukshuk are manmade stone cairns built for use by the peoples of the Arctic for navigation and as a point of reference; marking out travel routes, fishing places, camps, hunting grounds and places of veneration. Varying in shape and size, the inuksuit have ancient roots in Inuit culture and they remain an important Inuit cultural symbol to this day. Indeed, an inuksuk lies at the centre of the flag of the Canadian territory of Nunavut, and the flag of Nunatsiavut.

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282 PETER ALIKAMIK (INUIT), CRANE KINNGAIT, DORSET ISLAND carved and stained antler, raised on a soapstone base 14cm long Provenance: The Late Dr Helen E C Cargill Thompson

£200-300

283 DAVID KUPTANA (INUVIALUIT), CRANE ULUKHAKTOK, VICTORIA ISLAND carved antler, a graceful depiction, with a detachable antler base 23cm long

£120-180

284 SAAMI KNIFE AND SPOON ARCTIC carved reindeer antler, the spoon with ornate openwork handle and deep bowl with an incised reindeer in motion; the knife with a reindeer leather handle with impressed motifs, the antler scabbard protecting the iron blade, with incised decoration depicting a hunter leading a reindeer, with a husky and sledge following behind (2) largest 25cm long Provenance: Private collection, United Kingdom

£200-300

285 INUIT POLAR BEAR CANADA carved and polished soapstone, the animal is depicted striding forwards, the ears pinned back, the mouth open, signed in syllabics and dated ‘70 21.2cm long Provenance: Private collection, United Kingdom

£150-250 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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MODERN AFRICAN ART Left Lot 290 [detail]

286 HENRY MUNYARADZI (SHONA 1931-1998), DREAMER, C. 1996 ZIMBABWE carved and polished serpentine, standing on a flat base, wrapped in a blanket, signed “HENRY” to base 41cm tall Provenance: The Reece Galleries, New York The Johnstone Collection, United Kingdom Note: Henry Munyaradzi, also known as Henry Mzengerere or simply Henry, was born in a rural northern Zimbabwe, the son of a spirit medium. He joined the sculpting community at Tengenenge in 1967 before moving to Chitungwiza with his family following the War of Liberation in 1980, from where he continued to sculpt. His work received worldwide acclaim, entering many of the world’s top museums and collections.

£1,000-2,000

287 NICHOLAS MUKOMBERANWA (SHONA 1940-2002), HUMBLE MAN, 1988 ZIMBABWE green serpentine, with stylised angular carved detail, the figure shown with his knees pulled up to his chest, one hand raised, the other tucked beneath the knees 84.5cm tall Provenance: Gimpel Fils, London The Johnstone Collection, United Kingdom

£500-800

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288 GLADMAN ZINYEKA (SHONA 1962-2001), HUMILITY, 1989 ZIMBABWE carved and polished green serpentine, the female figure standing on a flat base, her nude torso tilting from the hips, the face with serene countenance, framed by the hair falling to the shoulders, signed to base 61cm tall Provenance: Gimpel Fils, London The Johnstone Collection, United Kingdom

£300-500

289 C. HAMBA (SHONA), LOVERS ZIMBABWE carved ironstone, depicting two figures wrapped in a single blanket created by leaving the stone unworked, each with a single handle emerging from the folds of the fabric 81cm tall Provenance: The Hemingway African Gallery, New York The Johnstone Collection, United Kingdom

£300-500

290 JOSEPH NDANDARIKA (SHONA 1940-1991), AFTER BATHING, 1990 ZIMBABWE carved and polished green serpentine, the nude female figure shown reclining against a rock, one hand held against the belly, the legs tucked to the right, signed “Ndandarika” to base 47cm high Provenance: Felicity Wright, United Kingdom The Johnstone Collection, United Kingdom

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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291 NATIAS M. (ZIMBABWEAN), LOVERS’ HEADS ZIMBABWE carved and polished serpentine, the dual heads with prominent domed foreheads, rising from a single base, signed “Natias M” to base 28cm tall Provenance: The Hemingway African Gallery, New York The Johnstone Collection, United Kingdom

£250-350

292 GRACE MUKOMBERANWA (B.1941), FIGURE ZIMBABWE carved and polished serpentine, the male shown kneeling, with the hands placed on the lap, the head tilting subtly to the right side 65cm tall Provenance: The Hemmingway African Gallery, New York The Johnstone Collection, United Kingdom

£400-600

293 NICHOLAS MUKOMBERANWA (SHONA 1940-2002) SPIRIT MEDIUM, 1987 ZIMBABWE carved and polished brown serpentine, the elliptical face parted by a sharp central ridge, subtly incised ring eyes and short mouth 77cm tall Provenance: Gimpel Fils, London The Johnstone Collection, United Kingdom

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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294 DOMINIC BENHURA (SHONA B.1968), THREE CHILDREN, 2001 ZIMBABWE carved stone, standing on a semi-circular base, three abstract figures process forwards in unison 52cm long Provenance: The Hemingway African Gallery, New York The Johnstone Collection, United Kingdom

£800-1,200

295 CORDIA S. (SHONA), BIRD, C. 1999 ZIMBABWE carved and polished serpentine, the figure with hybrid zoomorphic and anthropomorphic qualities, the broad wings in opposition, one pointing to the ground, the other to the sky, standing on a bronze base 83cm tall Provenance: The Hemmingway African Gallery, New York The Johnstone Collection, United Kingdom

£400-600

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296 LAZARUS TAKAWIRA (SHONA B.1952), TODAY’S GENERATION, 1996 ZIMBABWE carved and polished spring stone, the female bust standing on a rounded base, with slender neck and elaborate coif, signed to base 25.5cm long Provenance: Reece Galleries, New York The Johnstone Collection, United Kingdom

£600-900

297 JOHN TAKAWIRA (SHONA 1938-1989), FEMALE BUST ZIMBABWE carved and polished springstone, signed to base 37.2cm tall Provenance: Private collection, Scotland Note: John Takawira (1938 – 1989) was a Zimbabwean artist and leading figure in the Shona sculpture movement of the mid-20th century. Takawira was among the first members of the Workshop School at what is now the National Gallery of Zimbabwe, where his work was exhibited from 1963 onwards. His noted sculpture Skeletal Baboon was displayed as part of the exhibition Arte de Vukutu in 1971 at the Musée National d’Art Moderne and in 1972 at the Musée Rodin where it was described by Charles Ratton as “the finest art to emerge from Africa in the twentieth century”.

The present example, carved in springstone (a form of black serpentine) likely depicts a village girl. The influence of Modigliani might be detected in the elongated face and stylised features. Though Modigliani himself was of course shaped by African art in turn, particularly by the streamlined, pursed lips of the Guro masks of the Ivory Coast.

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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298 MALANGATANA VALENTE NGWENYA (1936-2011), WOMEN IN MOTION, 2003 MOZAMBIQUE ink on paper, signed, framed 24.5cm x 19.5cm Provenance: Private collection, United Kingdom Published: Pollitt, J. (2011). ‘Malangatana Ngwenya Obituary’, The Guardian, London, 17th January

£2,000-3,000

Note: Malangatana Valente Ngwenya was one of Africa’s leading contemporary artists. A lifelong Marxist, he depicted the suffering and struggles of a troubled nation, and campaigned for peace. While Ngwenya, meaning crocodile, provided the title of a 2007 documentary film, he was most widely known simply as Malangatana. A prominent figure in Mozambique, he played an important role in creating a broader Africanist aesthetic in Europe and America.

“Malangatana joined the Mozambique liberation movement FRELIMO in 1964. The same year he was detained by the Portuguese secret police for his involvement with FRELIMO and imprisoned for eighteen months. The period between his release and 1971, when he was awarded a grant from the Lisbon-based Gulbenkian Foundation to study printmaking and ceramics in Portugal, was an important one for his art.

During this time he continued to depict the tragic consequences of war – violence, hunger and death – and was prolific in his output, holding numerous exhibitions in Mozambique and accepting commissions to paint large-scale murals. After independence, Malangatana became more active politically and his artistic production declined between 1974 and 1978. It was only after the civil war ended in 1992 that he introduced landscape images into his work and began to work with a cooler palette.” Tate, 2014

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299 ERIA SANE NSUBUGA (B. 1979), UNTITLED, 2007 UGANDA oil on canvas, signed and dated 60cm x 61cm Provenance: Private collection, United Kingdom

£1,000-2,000

300 STEPHEN GARAN’ANGA (B.1974), STATE HOUSE, 2008 ZIMBABWE acrylic on canvas, signed, dated and framed 144cm x 97cm Provenance: Private collection, United Kingdom

£1,000-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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301 KWAME BAKOJI-HUME (B. 1970), YENKYIRI GHANA signed, acrylic on canvas 102cm x 75.5cm

£600-900

302 AZUKA NNABUOGOR (BIAFRAN B.1973), STATE OF EMERGENCY, 2018 NIGERIA acrylic on canvas, signed and dated 150cm x 150cm Provenance: Private collection, United Kingdom

£800-1,200

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303 FREDERIC BRULY BOUABRE (1923-2014), ZACELI ET ZAWOUNON IVORY COAST Ici, la mere des jumeaux Zaceli et Zawounon La biche noire totem des jumeaux Zaceli mangeant son totem biche noire Zaceli mort après avoir mangé son totem Zaceli et Zawounon enterrés ensemble (6) 30.2cm x 20cm Provenance: Private collection, United Kingdom

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate.

“You”, “Your” means the Buyer.

Lyon & Turnbull Ltd. acts as agent for the Seller.

A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age,Provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/ images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

2. O UR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below. (a) Condition Reports: Condition Reports are provided on our Website

21.2

or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling.

These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any

improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent.

The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order.

As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted.

These watches cannot be shipped to the USA and only imported personally.

Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine.

We can provide no guarantees as to how the alcohol may have been stored.

There is always a risk of cork failure and allowance by the Buyer must be made.

Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing.

This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects

not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300. (e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration.

We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. F AILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering

133 and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so

made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot. 3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out

invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £300,000, plus 20% from £300,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium.

No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction.

Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

2. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots. Please see D.2(e) for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK. (a) Lots affixed with (†): Value Added Tax on the Hammer Price and Buyer’s Premium is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the UK and is not operating under a Margin Scheme. (b) Lots affixed with (‡): A reduced rate of Import Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the UK. (c) Lots affixed with [Ω]: Standard rate of 20% of Import Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the UK and do not fall within the reduced rate category. (d) Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay us Lyon & Turnbull Ltd. the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. (e) Export from the UK: For lots offered

under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £100. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed.

Please also note that all customs formalities of the destination country are the responsibility of the buyer.

3. A RTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale.

More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES 1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else.

If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which

134 may be added to this agreement by law, are excluded.

2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by

any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing

by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us

of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. (h) If you agree to our pack and send service (if applicable) payment of shipping fees must be made prior to us posting. Any shipping fee will be inclusive of VAT. 2. IN THE EVENT OF NON-PAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total

Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING (a) We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. (b) We offer a limited pack and send service using Royal Mail on small jewellery items. When items leave our premises and are in transit via postal service We are not responsible for any damage or loss incurred. We are also not responsible for making any claim regarding loss or damage to items. A tracking reference number will be issued which can be used to raise a claim with the relevant shipping provider.

2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining

135 licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium,Provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid

by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not

correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission.

We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other

currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www. lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull.com.

10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The

Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

21.2

136

GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

PAYMENT

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. There will be no on-site payment facilities and no cash accepted as all our venues are closed to the public.

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING Due to governmental restrictions, in-room bidding will not be permitted at this auction.

Registered bidders will be assigned a non-transferable bidder number.

Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given during your registration.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call.

We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

ON THE INTERNET - ABSENTEE BIDDING Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com - BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS Please refer to page 2 of this catalogue.

Inside Back Cover: Lot 165 [detail]

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM