December 2025 Auction - TimeLine Auctions by Daniel Riddick

Head Office

TimeLine Auctions Limited

The Court House

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CO12 4DN, UK

Tel: +44 (0)1277 815121

Website www.timelineauctions.com

Antiquities Auction

Tuesday 2 December 13:00 (Lots 1 - 410)

Wednesday 3 December 13:00 (Lots 411 - 990)

Thursday 4 December 13:00 (Lots 991 - 1570)

Friday 5 December 13:00 (Lots 1571 - 2149)

Saturday 6 December 13:00 (Lots 2150 - 2732)

Numismatic Auction

Tuesday 9 - 11 December 13:00 (Lots 2733 - 4743)

Viewing By Appointment Only

Bids

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+44 (0)1277 814122 fax bids@timelineauctions.com

Telephone bidding by prior arrangement. Please see back of the catalogue for Terms & Conditions

Consignments

+44 (0)1277 815121 consignments@timelineauctions.com

Illustrations

Cover: Lots 237 & 146

Sale Number: 297

Catalogue Production & Layout

Damir & Davor Radic DRs d.o.o.

Photography & Video Production

Michael Healy, Kyle Elmer, Jason Williams

Antiquities Department

Dr Raffaele D'Amato (Head of Department)

Stephen Pollington (Cataloguer)

Michaela Simonova, MA (Cataloguer)

Tanja Maijala (Cataloguer)

Numismatic Department

Dane Kurth (Greek & Roman Coins & Antiquities)

Michaela Simonova, MA (Cataloguer)

Brett Hammond, FRSA

Consultants

Professor Neritan Ceka (Classical & General Antiquities)

Professor Dr phil. Peter Rothenhoefer (Classical Archaeology, Chinese Antiquities, and Coins)

Professor Livio Zerbini (Classical Archaeology & Roman Epigraphy)

Dr Ronald Bonewitz (Antiquities & Geological)

Dr Manuel Ceccarelli (Western Asiatic Antiquities)

Dr Robert Chandler (Paleontology)

Dr Paul A. Fox, MA, FSA (Heraldry)

Dr Brian Gilmour (Arms & Armour & General Antiquities)

Dr Ittai Gradel (Classical & General Antiquities)

Dr Malcolm Jones (Medieval & Later Antiquities)

Dr Alberto Pollastrini (Egyptian & Associated Antiquities)

Dr Laura Profﬁtt (Classical & General Antiquities)

Dr Laura Vigna (Ancient Jewellery, Ceramics & Marble)

Laetitia Delaloye, MA (Egyptian & General Antiquities)

Michaela Simonova, MA (Mesoamerica, Viking & Religious)

Thomas Sturm, MA (Cylinder Seals)

Paul Whelan, MA (Egyptian Antiquities)

Peter Bufton (Far Eastern, Islamic & Ethnographic)

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

Richard Falkiner, FSA (Jewellery & General Antiquities)

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

Igor Gorokhovsky (Metallurgist & General Antiquities)

Joseph Hubbard (Natural History)

Dane Kurth (Greek & Roman Coins & Antiquities)

Stephen Pollington (Anglo-Saxon & Viking Antiquities)

Amin Rezai (Western Asiatic & General Antiquities)

Richard Roy (Ancient Americas)

Simon Schmidt (Jewellery & General Antiquities)

Mehdy Shaddel (Western Asiatic & Islamic Antiquities)

Stefany Tomalin (Beads & Associated Jewellery)

For further information and biographies see: www.timelineauctions.com

Team

Chief Executive Ofﬁcer: Brett Hammond, FRSA

Chief Operating Ofﬁcer: Aaron Hammond

Head of Administration: Tanja Maijala

Client Account Manager: Lisa Fricker

Admin Assistants: Law Yuen Ying, Heather O’Neil

EGYPTIAN STONE CYLINDER SEAL WITH CARTOUCHE OF PSUSENNES

Third Intermediate Period, circa 1055-950 B.C. 1¾ in. (31.7 grams, 44 mm)

Large cylinder with deeply incised hieroglyphs, including the royal titulary above a cartouche of Psusennes I or II.

£300 - 400

PROVENANCE:

From the collection of a gentleman, acquired on the London art market in the 1990s.

EGYPTIAN FAIENCE FISH PLAQUE AMULET

NEW KINGDOM, 1550-1070 B.C. in. (2.12 grams, 17 mm)

Rectangular plaque with raised Tilapia fish motif on the top and six ring-and-dot motifs on the underside.

£300 - 400

PROVENANCE:

Mrs Allinson to Mrs Foster, 1867 and thence by descent to the current owner, Stanley Crescent, London, UK.

FOOTNOTES:

Amulets depicting the Tilapia fish served as symbols of regeneration.

EGYPTIAN FAIENCE TRIAD AMULET

LATE PERIOD, 664-332 B.C.

1¼ in. (8.56 grams, 33 mm)

Comprising in high relief the Osirian triad (Nephthys, Horus, Isis) standing side by side on an integral plinth against a dorsal pillar; Nephthys (right) and Isis (left) shown frontally wearing headdresses with their own attributes, each holding the hands of Horus in the centre, naked and wearing the side-lock of youth; ribbed loop at the top for suspension.

£500 - 700

PROVENANCE:

From the collection of a Swedish noble family, 1920s.

EGYPTIAN FAIENCE HIEROGLYPHIC SHABTI

LATE NEW KINGDOM-EARLY THIRD INTERMEDIATE PERIOD, CIRCA 1200-1000 B.C.

4½ in. (87 grams, 11.3 cm)

Mummiform figure wearing a lappet wig, with arms crossed and holding a pick and hoe outlined in black; the wig, facial features, necklace, and seed bag painted black; hieroglyphic text to lower body: s ws r ‘The illuminated, the Osiris’.

£400 - 600

PROVENANCE:

From the collection of a gentleman, acquired on the London art market in the 1990s.

FOOTNOTES:

The shabti was a stock product included with an opening dedication, awaiting the addition of the prospective purchaser’s name. However, many examples of shabtis with only partial dedications are known to have been buried with the deceased.

EGYPTIAN BLUE FAIENCE BEAD NECKLACE WITH TAWERET PTOLEMAIC PERIOD, 332-30 B.C. 10 in. (21.2 grams, 27.6 cm)

A restrung designer necklace composed of cylindrical and annular beads, central feature composed of polychrome annular beads flanking a Taweret amulet; modern clasp.

£600 - 800

PROVENANCE: Private collection, UK.

FOOTNOTES:

The ancient Egyptian goddess Taweret is mainly associated with fertility, childbirth, motherhood, and the protection of women during pregnancy and labour. She is depicted as a composite creature, combining various animal features, and is one of the more unique and striking deities in the Egyptian pantheon. Taweret’s name comes from the Egyptian word for great or large (t w rt), reflecting her formidable and protective nature. 6

EGYPTIAN FAIENCE BROAD COLLAR AMULET NECKLACE LATE PERIOD, 664-332 B.C. 12¾ in. (53 grams total, 32.5 cm wide)

A restrung group of annular and figural beads forming a collar of five descending tiers including djed pillar, atef crown, cartouche and other types.

£2,500 - 3,500

PROVENANCE: Property of a North London, UK, gallery.

FOOTNOTES:

Several faience collars found in the tomb of Tutankhamun use amuletic forms, the hes-vase, nefer-sign, and cartouche pendants as part of primarily plantform collars. Depictions of collars on the sarcophagi and gold mask from the tomb of Tuiya and Yuia also show nefer-signs and palmettes used alongside the more common plant designs.

EGYPTIAN CARNELIAN SCARAB

LATE PERIOD, 664-332 B.C. ¾ in. (3.3 grams, 18 mm)

Modelled in the round with detailed head and legs, ellipsoid plaque, longitudinal piercing.

£500 - 700

PROVENANCE:

Ex Belinda Elliston collection, a member of the Egyptian Exploration Society, 1940s onwards.

LARGE EGYPTIAN RED STONE SCARAB

LATE PERIOD, 664-332 B.C. 1 in. (56.6 grams, 42 mm)

Plano-convex in section, carved in the half-round scarab with segmented carapace; underside plain.

£500 - 700

PROVENANCE: with Archaeologia, Switzerland, before 1983. Ex private North American collection. London private collection, 2016.

EGYPTIAN TURQUOISE SCARAB

LATE PERIOD, 664-332 B.C. ½ in. (1.21 grams, 15 mm)

Carved in the round with longitudinal piercing, ellipsoid base.

£400 - 600

PROVENANCE:

Ex Belinda Elliston collection, a member of the Egyptian Exploration Society, 1940s onwards.

PHOENICIAN AMETHYST SCARAB WITH HORSE’S HEAD AND ARAMAIC INSCRIPTION

LATE 1ST MILLENNIUM B.C. ½ in. (1.59 grams, 13 mm)

Scaraboid in form with transverse piercing, four Aramaic characters engraved to the flat face above a horse-head motif; supplied with a museum-quality impression.

£500 - 700

PROVENANCE:

From the private collection of the late Mr S.M., London, UK, 1969-1999; thence by descent.

Accompanied by a copy of a previous cataloguing slip.

EGYPTIAN HARDSTONE SCARAB

LATE PERIOD, 664-332 B.C.

1 in. (10.1 grams, 27 mm)

With detailed clypeus and head, raised ridge separating the wing case, resting on an oval base with plain underside.

£500 - 700

PROVENANCE:

From the property of a London, UK, gentleman, 1970-2000s.

FOOTNOTES:

The scarab, which represented the dung beetle, was the most popular amulet in ancient Egypt for approximately two thousand years until the Ptolemaic Period when it gradually fell out of favour. The popularity of scarabs extended beyond the borders of Egypt, and they were also distributed and produced in other regions, such as Phoenicia and Israel. The beetle is named khepri, derived from the verb ‘to come into existence’, and was considered the embodiment of the creator god Khepri, who was self-created. The ancient Egyptians mistakenly believed that the young beetle emerging from the dung ball was the result of an act of self-creation.

12

EGYPTIAN HARDSTONE SCARAB

26TH-30TH DYNASTY, 664-343 B.C. 2 in. (70.2 grams, 49 mm)

Carved in the half-round with detailed mouth, legs and carapace.

£2,500 - 3,500

PROVENANCE: with Galerie Gunter Phuze, Kunst der Antike, Freiburg, 2000, no.352. Ex George Broomis. Private collection, London, UK.

FOOTNOTES:

Scarabs were among the most popular amulets of ancient Egypt. Modelled on the dung beetle, they symbolised rebirth, transformation, and the daily journey of the sun god across the sky. From the Middle Kingdom onwards, they were widely used as personal seals, jewellery, and offerings in tombs. The flat underside was often carved with names, prayers, or symbols, while the beetle form on top carried protective power. Scarabs were believed to safeguard the wearer in life and assist the dead in the afterlife, making them both practical objects and deeply spiritual charms.

13

EGYPTIAN ROCK CRYSTAL SCARAB

LATE PERIOD, 664-332 B.C. in. (6.45 grams, 23 mm)

Carved scarab with segmented carapace and legs. £500 - 700

PROVENANCE: Ex Belinda Elliston collection, a member of the Egyptian Exploration Society, 1940s onwards.

EGYPTIAN MUMMY GLASS EYE

1ST MILLENNIUM B.C. 2 in. (8.02 grams, 62 mm)

Comprising a frame with extended tear duct, inset with a white sclera and a large black pupil. [No Reserve]

£400 - 600

PROVENANCE: Acquired in London or Japan, early 1980s. Property of a London, UK, gentleman.

EGYPTIAN FAIENCE BEAD BROAD COLLAR NECKLACE

LATE PERIOD, 664-332 B.C. 13¼ in. (50 grams, 33.5 cm)

Comprising: band of vertically strung faience tubular beads with integral tie at each end; below, a fringe of vertically strung groups of eight similar beads on a loop of thread with annular beads at the junction with the band and more similar at the outer end of the fringe; ancient cord.

£400 - 600

PROVENANCE: Ex William Ohly, 1883-1955.

Ex Abbey Museum, Barnet, by descent.

EGYPTIAN BLUE-GLAZED FAIENCE WHITE LOTUS CHALICE NEW KINGDOM-THIRD INTERMEDIATE PERIOD, 1315-945 B.C. 4¾ in. (205 grams, 12.1 cm)

The lotiform cup modelled as an open lotus flower with incised petal detailing to the outer face, short stem and flared foot; some restoration.

£5,000 - 7,000

PROVENANCE: Acquired 1970s-1996.

Property of a North American collector. London collection, 2016.

FOOTNOTES:

Faience chalices shaped like the flowers of the white lotus (Nymphaea albicans) first appeared in the 18th Dynasty and are believed to be drinking vessels.

EGYPTIAN TURQUOISE FAIENCE SHABTI OF PRINCE KHAEMWASET

NEW KINGDOM, RAMESSIDE PERIOD, 19TH DYNASTY, 1282-1225 B.C. 6 in. (284 grams, 15.1 cm)

Wearing daily dress and carrying agricultural implements, with dark blue details including his short wig with side-lock, designating him as a Sem-priest of Ptah at Memphis, the text on the kilt naming him as 'Sem-priest and King's son Khaemwaset'; with round-topped back support, the reverse with two columns of hieroglyphs with part of the shabti formula: "He says: O shabti, if one counts, if one is reckoned to do all the works that are to be done there in the God’s land—now indeed obstacles are implanted therewith—as a man at his duties, ‘Here I am,’ you shall say when you are counted off to cultivate the fields, transport by boat the sand of the east to the west and vice versa; ‘Here I am,’ you shall say".

£8,000 - 10,000

PROVENANCE:

With Barakat, Beverly Hills: reputed to be from the Omar Pasha Sultan collection, (1806-1871) but unpublished in the 1929 catalogue of the collection, nor in Aubert’s 1976 article on the shabtis in the collection. Bonhams, London, 1 May 2013, no.282.

Accompanied by copies of the relevant Bonhams catalogue pages. Accompanied by an academic report by Egyptologist Paul Whelan.

FOOTNOTES:

Prince Khaemwaset was the fourth-ranked son of Ramesses II and the second born to Queen Isetnofret. More is known about Khaemwaset than any other son of Ramesses II, attested by over 150 objects, ranging from statues to temple reliefs. He is traditionally regarded as the “first Egyptologist” for his restoration of monuments belonging to earlier kings, including the pyramids at Giza and Saqqara. Recent reassessment, however, suggests that some of these activities involved dismantling parts of ancient structures for reuse in his father’s temple constructions.

EGYPTIAN GOLD BASTET SEATED CAT AMULET

LATE NEW KINGDOM-THIRD INTERMEDIATE PERIOD, CIRCA 1069-900 B.C.

¼ in. (0.51 grams, 8 mm)

Modelled seated on a tongue-shaped base, with simple facial detailing and suspension loop to the back.

£400 - 600

PROVENANCE:

Ex French collection, early 20th century.

From the collection of a late Japanese gentleman, 1970s onwards.

EGYPTIAN GOLD BES AMULET NEW KINGDOM, CIRCA 1550-1070 B.C.

¾ in. (3.57 grams, 18 mm)

Mask of Bes with feathered crown; attachment bar to reverse.

£1,000 - 1,400

PROVENANCE:

Ex French collection, early 20th century.

From the collection of a late Japanese gentleman, 1970s onwards.

FOOTNOTES:

From the New Kingdom onwards, Bes became one of ancient Egypt’s most popular apotropaic deities. Despite his somewhat fearsome appearance, Bes served as the patron and protector of pregnant women and children, and was also believed to shield them from snakes.

EGYPTIAN HARDSTONE SCARAB WITH LATER GOLD PENDANT MOUNT

LATE PERIOD, 664-332 B.C. in. (2.88 grams, 16.54 mm)

Carved scarab with detailed carapace and mouth parts; later gold wire mount for suspension.

£500 - 700

PROVENANCE: Early 20th century UK, collection.

EGYPTIAN GOLD RING WITH AGATE BULL NEW KINGDOM, 1550-1292 B.C.

1 in. (4.71 grams, 27.98 mm overall, 19.07 mm internal diameter (approximate size British N, USA 6½, Europe 13.72, Japan 13))

Comprising a round-section swivel ring set with a carved Apis bull depicted recumbent with its head turned to right.

£6,000 - 8,000

PROVENANCE: Private collection, UK.

ROMANO-EGYPTIAN GOLD RING WITH DUCK INTAGLIO

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

1 in. (3.85 grams, 23.13 mm overall, 18.91 mm internal diameter (approximate size British Q½, USA 8¼, Europe 18.12, Japan 17))

Comprising a flat-section hoop and a raised rectangular bezel, the tapering bezel set with a garnet intaglio engraved with a standing duck.

£3,000 - 4,000

PROVENANCE: Private English collection. Private collection, London, UK.

EGYPTIAN STEATITE PORTRAIT OF A PTOLEMAIC PRINCE ‡

2ND-1ST CENTURY B.C.

4 in. (84 grams total, 10 cm including stand)

With a round face, large eyes, a narrow nose that broadens at the end, and full lips downturned at the corners; the forehead with a distinctive deep furrow above the brow; a narrow, twisted diadem encircling his wavy hair; mounted on a custom-made display stand. £2,500 - 3,500

PROVENANCE:

Private collection, Bern, Switzerland. with Galerie Rhéa, Zurich, Switzerland.

FOOTNOTES:

The Greek hairstyle is a characteristic feature of Ptolemaic royal portraiture, as is the twisted diadem - a Greek interpretation of the Egyptian headband (the sšd) - which appears on several portrait heads of Ptolemaic boy-kings and princes. The distinctive furrow is intriguing, as it contrasts with the typically blemish-free physiognomy of most Ptolemaic royal sculpture. However, a similar furrow can be seen on the portrait head of a provincial governor from Dendera, dated to the 2nd century B.C. (Bothmer, B.V., Egyptian Sculpture of the Late Period 700 B.C. to A.D. 100, New York, 1960, pp. 144-143, pl. 112, nos. 301302), which may indicate an artistic trend employed in high-status sculpture at that time. It has been suggested that small royal portrait heads, such as this example, may have served as votives. The lack of an Egyptian-style back pillar on this and similar pieces supports the possibility that they were inserted into statues made of different materials (Ashton, S.-A., Ptolemaic Royal Sculpture from Egypt, BAR International Series 923, Oxford, 2001, p.12).

EGYPTIAN ALABASTER MIRROR HANDLE

NEW KINGDOM, 18TH-20TH DYNASTY, 1550-1070 B.C. 5¾ in. (482 grams total, 14.5 cm including stand)

In the form of a papyrus column, the upper platform pierced through for insertion of a bronze mirror, incised with lotus petals at the top of the shaft and at the base; mounted on a custom-made display stand. £5,000 - 7,000

PROVENANCE: with Nicholas Wright, London, UK, 1969. Christie’s, London, 14 April 2011, no.128.

Accompanied by copies of the relevant Christie’s catalogue pages.

FOOTNOTES: The papyrus stalk was used in the hieroglyphic script for the word ‘wadj’, meaning ‘fresh’, making it an appropriate talisman for the preservation of the body.

EGYPTIAN ALABASTER ALABASTRON ‡

LATE PERIOD, 664-332 B.C.

5½ in. (332 grams, 14 cm)

Ovoid jar with a rounded base, concave shoulders and flared neck; remains of lug handles, restored.

£700 - 900

PROVENANCE:

Acquired in the mid 1980s-1990s.

Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

EGYPTIAN GREEN STONE FROG AMULET

LATE PERIOD, 664-332 B.C.

½ in. (1.47 grams, 13 mm)

Modelled seated on an oval base; pierced for suspension.

£300 - 400

PROVENANCE: Mrs Allinson to Mrs Foster, 1867 and thence by descent to the current owner, Stanley Crescent, London, UK.

FOOTNOTES:

Frog amulets in ancient Egypt symbolised fertility, rebirth, and renewal. Associated with the goddess Heket, who was connected to childbirth and lifegiving forces, these amulets were especially popular in contexts related to fertility and protection during pregnancy and labour. Their association with the annual Nile flood, which brought new life to the land, further underscored their symbolism of revival and abundance.

EGYPTIAN ALABASTER TRUSSED DUCK

OLD KINGDOM, 6TH DYNASTY, CIRCA 2345-2181 B.C.

4 in. (890 grams total, 10 cm wide including stand)

Carved in the round with the head and neck laid backwards along the spine; mounted on a custom-made stand.

£7,000 - 9,000

PROVENANCE: Acquired before 1970. Private French collection. with Bonhams, New Bond Street, London, 29 April 2009, lot 58. Ex Middle Eastern royal family, living in the UK, 2013-2017.

Accompanied by a copy of a French cultural passport no.099505. Accompanied by a copy of the relevant Bonhams catalogue pages.

FOOTNOTES:

In ancient Egypt, the duck (actually the Egyptian goose) was considered a sacred and very popular animal, often depicted in art and associated with symbolic meanings. It was a common bird in the Nile Valley and considered a symbol of fertility, life, and family, which is why it frequently appeared in scenes of daily life and rituals, and in the artworks.

EGYPTIAN LIMESTONE OFFERING TABLE FOR INY

LATE OLD KINGDOM-FIRST INTERMEDIATE PERIOD, CIRCA 2400-2040 B.C.

18 in. (14.75 kg, 45.5 cm)

Rectangular table with the upper part carved in high relief in the shape of a bread loaf on a mat representing the hieroglyphic sign for "offering" ( tp), with two rectangular recesses for libations, and extensive hieroglyphic inscriptions displaying offering formulae along with the titles and name of the deceased: "an offering that the king gives and Anubis, the one upon his mountain, a voice offering of bread and beer for the sole companion, god’s sealer, the revered one before the god, lord of the sky/heaven, In[y]".

£10,000 - 14,000

PROVENANCE: Acquired 1970s-1996. Private collection, Switzerland. with a North American collector. London collection, 2016.

Accompanied by an academic report by Egyptologist Paul Whelan.

FOOTNOTES: Offering tables played a significant role in ritualistic activity within tombs. Their origins may be traced back to the simple act of placing a loaf of bread on a reed mat during Predynastic burials, which gradually evolved into a more formalised and durable expression in stone. The distinctive form also became a hieroglyph, used in words meaning “to be satisfied,” “to be satiated,” and similar expressions, reflecting appropriate sentiments for food and drink offerings.

ROMANO-EGYPTIAN PAINTED PORTRAIT ON LINEN ‡

1ST-2ND CENTURY A.D.

22 x 24¾ in. (4.3 kg, 58 x 63 cm including frame)

Encaustic painting on thin linen fabric, upper part of the funeral shroud with half-length representation of the deceased, representing the bust of a young man in the guise of mummiform Osiris holding implements of his divinity, black hair, wearing a gilt broad collar (maniakion) and netting, pink dress ornamented with rosettes, traces of halo in white pigment; set in a glazed frame.

£25,000 - 35,000

PROVENANCE:

Collection of the estate of Patti Cadby Birch (1923-2007), New York, USA. with Sotheby’s, New York, Antiquities, 5 June 2008, sale no.8452, no.105. European private collection, acquired thereafter.

EGYPTIAN BRONZE OSIRIS STATUETTE

LATE-PTOLEMAIC PERIOD, CIRCA 664-30 B.C.

5¼ in. (136 grams, 13.5 cm)

Modelled in the round as a characteristically mummiform standing figure with arms crossed and holding the crook and flail regalia, wearing the hedjet crown and uraeus

£500 - 700

PROVENANCE:

From the collection of a gentleman, acquired on the London art market in the 1990s.

FOOTNOTES:

Osiris is a deity associated with death and fertility, widely acknowledged as the supreme god of rebirth. Although he was once a mortal ruler, as a deity, his domain was the Underworld. Abydos served as the primary cult site of Osiris’s worship, where a renowned annual celebration in his honour took place.

EGYPTIAN BRONZE STATUETTE OF OSIRIS LATE PERIOD, 664-332 B.C.

3 in. (47.3 grams, 76 mm)

A slender standing figure of Osiris in iconic mummiform appearance, wearing the tall conical Atef crown with its flanking ostrich plumes, and central uraeus, holding the crook (heka) and flail (nekhakha) regalia; suspension loop on the reverse.

£350 - 450

PROVENANCE:

Acquired on the UK art market in the 1970s.

Private collection, UK.

ROMANO-EGYPTIAN BRONZE SISTRUM FRAGMENT WITH GOAT

2ND-3RD CENTURY A.D.

4¼ in. (73.7 grams, 10.8 cm)

Comprising a slender U-shaped body with beaded border, the sides with four pairs of piercings to accept separate crossbars, an applied goat resting atop the body. [No Reserve]

£400 - 600

PROVENANCE:

Ex Paul Munro-Walker, Bournemouth, Hampshire, UK, 1980s.

From a UK collection since before 1990.

FOOTNOTES:

When the sistrum was shaken, copper or bronze discs on its crossbars would rattle against each other, creating a clashing sound. The ancient Egyptian name for the sistrum, sesheshet, is onomatopoeic and mimics this sound.

EGYPTIAN BRONZE HEAD OF A CAT ‡ LATE-PTOLEMAIC PERIOD, 664-30 B.C. 1¼ in. (40.4 grams, 33.6 mm high)

The head of goddess Bastet modelled in the round with alert ears and eyes, ears pierced; hollow-formed.

£1,000 - 1,400

PROVENANCE:

Acquired in the mid 1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

FOOTNOTES:

The feline’s pierced ears likely once held earrings or other ornaments. It was probably attached to a statuette of a cat, whose body may have been crafted from wood. The cat was sacred to Bastet, a protective mother goddess and the daughter of the sun god Re. Amulets provided the wearer with the goddess’s protection. Her name means ‘she of the bast [ointment jar],’ which may have contained a substance favoured by or exclusive to royalty. Originally, Bastet was depicted as a woman with the head of a lioness, but by the late New Kingdom, she was typically shown with a cat’s head. She is sometimes portrayed with kittens, emphasising her maternal role as a fierce protector of her offspring.

LARGE EGYPTIAN BRONZE

WEPWAWET AMULET ‡

THIRD INTERMEDIATE-LATE PERIOD, 1069-332 B.C.

3½ in. (4 in.) (54 grams, 91 mm (162 grams total, 11.7 cm including stand ))

Showing the jackal deity Wepwawet standing with ears pricked on a sledge, the slender body modelled with long legs and a tail, suspension loop on the back; two rearing cobras before the jackal; mounted on a custom-made display stand.

£3,500 - 4,500

PROVENANCE:

Ex Dr R. and Mrs L.B., Zumikon, Switzerland. with Galerie Rhéa, Zurich, Switzerland.

FOOTNOTES:

Wepwawet, meaning Opener of the Ways, was an ancient Egyptian god associated primarily with warfare, protection, and funerary practices. Depicted as a jackal or a man with a jackal’s head—often mistaken for Anubis— Wepwawet was believed to guide souls through the afterlife and open paths both in battle and in the spiritual realm. He originated in Asyut (ancient Lycopolis) in Upper Egypt and was one of the oldest deities in the Egyptian pantheon, with worship dating back to at least the First Dynasty (c. 3100–2900 BCE). Over time, Wepwawet became closely linked to Anubis, and the two were sometimes conflated, though Wepwawet retained his distinct identity as a god who preceded and cleared the way. In military contexts, Wepwawet was invoked to open the way for pharaohs and armies, ensuring victory and safe passage. In funerary texts, he was described as clearing the path to the afterlife, acting as a scout or guide for the deceased.

EGYPTIAN BRONZE FIGURE OF A SHREW LATE-PTOLEMAIC PERIOD, 664-30 B.C. 1 in. (145 grams, 73 mm)

Modelled in the round in a crouching pose on a rectangular base with an attachment peg.

£400 - 600

PROVENANCE:

From the collection of a gentleman, acquired on the London art market in the 1990s.

FOOTNOTES:

This figure most likely comes from a shrew coffin or votive statuette. The dwarf shrew (Crocidura nana) and Flower’s shrew (Crocidura floweri) were among many animal species buried in dedicated cemeteries across various parts of Egypt. Ironically, these tiny creatures symbolised Horus in his raptor-headed form — a figure who, in reality, would have preyed upon them. Shrews were associated with Khenty-irty, the “seeing-and-blind god,” due to their ability to navigate darkness. It may be possible to read the shrew’s symbolism as that of seeking light in darkness, representing the Egyptian belief in the deceased’s journey through the hours of the night before rebirth at dawn. Radiographic analysis of a bundle containing about twenty-one shrews shows that they were dried whole, with no evisceration, preserved by being ‘pickled’ in natron.

EGYPTIAN LIMESTONE RELIEF FRAGMENT WITH FEMALE FIGURE ‡

NEW KINGDOM, 18TH DYNASTY, CIRCA 1295 B.C.

16½ in. (3.12 kg total, 42 cm high including stand)

Showing a female figure as part of a procession, carrying a loaf of bread, a second offerant behind her; mounted on a custom-made display stand.

£3,500 - 4,500

PROVENANCE:

From the estate of the late Professor Dr E. Bernardo Streiff, Geneva; a distinguished collection of antiquities formed during the 1950s-1970s. with Galerie Rhéa, Zurich, Switzerland.

FOOTNOTES:

Professor Dr E. Bernardo Streiff (1911-2001) was a prominent Swiss physician and academic based in Geneva, best known for his contributions to medical science as well as his deep passion for ancient art and antiquities. Over the course of several decades, particularly between the 1950s and 1970s, Professor Streiff assembled a highly regarded private collection of antiquities, reflecting both scholarly discernment and aesthetic sensitivity. His interests focused on the art and material culture of the ancient Mediterranean, with a particular emphasis on Greek, Etruscan, and Roman objects. A connoisseur guided by academic rigour, Dr Streiff maintained close ties with museums, galleries, and archaeological experts of his time. Many pieces from his collection were acquired from leading European dealers and fairs, and are notable for their quality, provenance, and condition. Following his passing, objects from the Streiff collection have appeared in respected sales and exhibitions, recognised for their integrity and the refined eye of the collector behind them.

EGYPTIAN LIMESTONE RELIEF WITH PHARAOH MAKING OFFERINGS

PTOLEMAIC-ROMAN PERIOD, CIRCA 332 B.C.-300 A.D. 17 in. (18.4 kg total, 45.5 cm including stand)

Rectangular relief showing the pharaoh wearing the pschent crown of Upper and Lower Egypt and presenting the hieroglyphic sign of a field (s t) in his outstretched palms towards the now barely discernible figure of a standing deity holding a long sceptre; an empty cartouche above and a column of worn hieroglyphic text below; mounted on a custom-made display stand.

£4,000 - 6,000

PROVENANCE:

Acquired 1970s-1996. Private collection, Switzerland. with a North American collector. London collection, 2016.

FOOTNOTES:

Scenes showing the pharaoh offering various items, including fields, to one or more deities are found in temples across Egypt. The empty cartouche is a feature most often seen in inscriptions from Ptolemaic and Roman-period temples, reflecting uncertainty over the holder of power in the country.

EGYPTIAN LIMESTONE RELIEF OF SHEPSET

OLD KINGDOM, 5TH-6TH DYNASTY, CIRCA 2513-2200 B.C. 27½ in. (27.3 kg total, 70 cm wide including stand)

Rectangular relief featuring three horizontal bands of hieroglyphic text, which preserve part of an offering formula and two titles: Overseer of all fruit trees ( my-r t nb(t) bnrt) and Overseer of the King’s repast (ımyr bw-r nswt); a vertical panel displays two more titles: Courtier of the (royal) house (smr pr), Director of the Dining Hall of the Great House ( rp s pr- ), and the deceased's name Shepset (šps.t); to the right, there is a standing figure of the deceased dressed in a long kilt and holding a staff of office; mounted on a custom-made display stand.

£8,000 - 10,000

PROVENANCE: Acquired 1970s-1996. Private collection, Switzerland. with a North American collector. London collection, 2016.

Accompanied by an academic report by Egyptologist Paul Whelan.

FOOTNOTES:

The deceased's name is somewhat unusual. The name ends with a bread loaf sign, suggesting it belongs to a female, which is clearly not the case here. Even if one reads the seated figure as a determinative, which would render the name as Set (st), this too would belong to a female. It could simply be an error by the layout scribe and/or sculptor, or the name may be incomplete.

The lower border was a decorative feature used both horizontally and vertically to define distinct zones, or registers, in tomb reliefs. The original position of the present fragment may be suggested by a similarly arranged text-and-figure composition decorating the lintel of the doorway leading to the funerary chapel in a tomb at Giza belonging to a man named Ankhaf. Although oriented in the opposite direction, the staff-holding, standing figure of Ankhaf is depicted before a vertical column of inscription, with three longer horizontal bands of text to the right. The first two horizontal lines contain an offering formula invoking Anubis and Osiris, while the third line lists his titles. These are partly repeated in the vertical column, followed by Ankhaf’s name. The decorative border beneath the inscriptions on the present example would not seem out of place in such a setting. Another plausible location for the original placement of the present fragment would be the architrave of a tomb’s false door – the symbolic portal through which the deceased could re-enter the world of the living and partake in food offerings made by priests or relatives. In either location, the composition identifies the tomb owner by image and name, states his official credentials, and designates him as the sole recipient of the offerings listed in the accompanying formula.

GREEK APULIAN XENON STEMLESS KYLIX ATTRIBUTED TO THE RED SWAN GROUP

SOUTH ITALIC, CIRCA 4TH CENTURY B.C.

7¾ in. (159 grams, 19.6 cm)

Shallow with arched loop handles below the rim, low stepped foot; tondo with painted wreath of laurel leaves surrounding a standing swan in profile; to the outer face two horizontal sprigs of laurel leaves. [No Reserve]

£300 - 400

PROVENANCE:

Ex David Miller, Hemel Hempstead, London, UK.

From the private collection of a West London, UK, gentleman, formed since the early 2000s.

GREEK APULIAN BLACK-GLAZED KANTHAROS WITH LADIES OF FASHION

SOUTH ITALIC, CIRCA 325-300 B.C.

8¼ in. (436 grams, 21 cm high)

High-handled with carinated lower body, socle base; profile ‘ladies of fashion’ busts with white and cream detailing to the hair, diadem and earrings. [No Reserve]

£600 - 800

PROVENANCE:

From the private collection of a Canadian gentleman living in Essex, UK, formed since the 1920s-circa 1990.

Property of an Essex lady until the the late 1990s; thence by descent. From the private collection of an Essex gentleman since the late 1990s.

Accompanied by an original of a thermoluminescence analysis report no.N125k90 by Oxford Authentication.

GREEK RED-FIGURE LEKYTHOS WITH EROS ATTIC, CIRCA 4TH CENTURY B.C.

4¼ in. (106 grams, 10.9 cm)

With flared foot, waisted neck and everted rim, strap handle to the rear; painted with a scene of winged Eros in flight above a baseline, with frond. [No Reserve]

£400 - 600

PROVENANCE: Property of a private Rutland, UK, collector, formed from at least from the 1990s.

GREEK APULIAN BLACKWARE EPICHYSIS WITH FLORAL DESIGN MAGNA GRACIA, CIRCA 4TH CENTURY B.C.

7¼ in. (217 grams, 18.5 cm)

Blackware with spool base, domed upper face, tall neck with spout and strap handle to the rear; the spool with laurel-leaf band in white, the upper face with tendrils in cream and ochre. [No Reserve]

£400 - 600

PROVENANCE:

Property of a private Rutland, UK, collector, formed from at least from the 1990s.

GREEK BLACK-FIGURE KYLIX WITH WARRIORS AND SPHINXES

ATTIC, CIRCA 530 B.C.

10¾ in. (414 grams, 27.3 cm wide)

Comprising: a broad shallow bowl with two loop handles curving up towards the rim, short stem and broad foot with chamfered outer edge; the bowl with reserved central disc to inner face, palmette motifs at the junctions of the handles, frieze depicting two standing nude males flanking a crouching sphinx in profile; restored and with old dealer’s labels beneath base.

£9,000 - 12,000

PROVENANCE: Ex Prof. F.S., Villingen-Schwenningen, Germany, 1991. with Gallery Dress Archeo S.P.R.L., Brussels. Acquired from the above, 16 December 2017.

Accompanied by a Gallery Dress Archeo certificate of authenticity. Accompanied by a thermoluminescence report no.0102 0910 from Laboratory Ralf Kotalla, 6 September 2010.

LARGE HELLENISTIC TEANO-WARE FISH PLATE

EARLY 3RD CENTURY B.C.

10½ in. (834 grams, 26.5 cm)

Broad face with incised rings outlining the painted border of running vinescroll in red and white; with a shallow central socket outlined in red, broad carinated rim and low foot.

£1,500 - 2,000

PROVENANCE:

Acquired from Bonhams, London, UK, 1990s, no.233.

Private collection, Suffolk, UK.

Accompanied by a copy of the relevant Bonhams catalogue page.

FOOTNOTES:

‘Teano ware’ is a type of ceramic produced in the late 4th century to the early 3rd century BC. Its modern name derives from Teanum Sidicinum, in northern Campania, the main centre of production. White and red pigment was used for the painted decoration on the black surface. It was probably used for votive or funerary purposes.

GREEK BLACK-GLAZED TERRACOTTA ASKOS ‡

4TH CENTURY B.C.

3¾ in. (160 grams, 97 mm high)

A pouring vessel with bulbous body and funicular spout, central strap handle.

£350 - 450

PROVENANCE:

Ex C.R., Ticino, before 1970. with Galerie Rhéa, Zurich, Switzerland.

GREEK TARENTINE RED-FIGURE FISH PLATE

APULIAN, 4TH CENTURY B.C

7¾ in. (611 grams, 19.5 cm)

Broad face with painted border to the rim of running wave pattern in red on black; with a shallow central socket outlined in red containing a seven-petalled flower; tondo with marine life of two fish and a squid with objects in the field; low foot; attributed to the Perrone-Phrixos Group.

£2,000 - 3,000

PROVENANCE:

Property of a private Rutland, UK, collector, formed from at least from the 1990s.

Accompanied by an original thermoluminescence analysis report by Oxford Authentication.

FOOTNOTES:

Usually, the iconographic structure of these fish-plates represents two bream and a torpedo fish, featured around the centre of the fish-plate, with scallops, a mussel, a murex, and a shrimp illustrated in the background. Some examples are attributed to the Helgoland painter, active in the Greek Campania (South Italy) circa 350-325 B.C.

BOEOTIAN BLACK-GLAZED TERRACOTTA KANTHAROS ‡ CIRCA 5TH CENTURY B.C.

7½ in. (310 grams, 19 cm wide)

The high-handled drinking cup with carinated lower body and a tall offset foot with a collar.

£800 - 1,000

PROVENANCE: Ex Galleria Serodine, Arte Antichità, Fritz Huchelmann-Tieche, Ascona 13 November 1987.

Private collection, Bern, Switzerland.

LARGE APULIAN RED-FIGURE PELIKE EARLY 4TH CENTURY B.C.

13¼ in. (2.49 kg, 33.5 cm)

Of Plain Style, comprising a broad mouth and neck with torus rim, vertical handles with central rib, bulbous body, stepped disc foot; laurel wreath on the neck and a meander pattern to the lower body; Side a) a youth wearing a himation and shoes, before him a woman carrying a basket and a fillet, wearing a sleeveless chiton, himation, and a sphendone (a fillet decorated by black dots), between the two figures a standing goose before a large flower, a suspended mirror above the figures; Side b) a draped young boy holding a ball and a strigil, the slightly taller youth dressed in a himation and leaning on a staff, a haunch of meat hanging between the figures.

£5,000 - 7,000

PROVENANCE: with Bonhams, London, 13 April 2000, no.167. Private collection, Suffolk.

FOOTNOTES: The haunch of meat (note the hoof), was a type of ‘love gift’ seen in Attic vasepainting. It could also refer to honorary shares of sacrificial meat: animal sacrifice had been a central part of Greek religious life since the Prehistoric era.

ATTIC TERRACOTTA GEOMETRIC JUG WITH HANDLE ‡

8TH CENTURY B.C.

9 in. (735 grams, 23.7 cm)

With a bulbous body and low basal ring, tubular neck with pinched trefoil spout and a wide strap handle to the rear; the body decorated with densely arranged circumferential bands, a panel of Greek key motifs on the neck, the handle with horizontal stripes and a central X-motif.

£1,800 - 2,400

PROVENANCE:

Swiss private collection, 1980-1990s. Private collection, Bern, Switzerland.

FOOTNOTES:

These kinds of geometric oinochoai almost always had spherical bodies, cylindrical necks with trefoil mouths and strap handles from rim to shoulder. They are typical of Attic workshops of the Middle Geometric period (800-750 B.C.).

CHALCIDIAN TERRACOTTA AMPHORA ATTRIBUTED TO THE PHINEUS PAINTER ‡ 525 B.C.

11 in. (1.06 kg, 28 cm)

Piriform body with splayed foot and narrow handles; the neck with slender lotus blossoms and palmettes, Side A) two opposing roosters with a lotus blossom in between, two standing swans flanking, below a youth on horseback holding the reins of a trotting horse, a man and a woman behind the horse; Side B) a grazing deer before an advancing panther looking back, two opposing sphinxes below with their heads turned back and front paws raised.

£5,000 - 7,000

PROVENANCE:

Ex Münzen und Medaillen A.G., H. Cahn, Basel, 13 April 1985. Private collection, Bern, Switzerland.

GREEK ATTIC RED-FIGURE SQUAT LEKYTHOS ATTRIBUTED TO THE MEIDIAN PAINTER ‡

CIRCA 420-400 B.C.

4¼ in. (95 grams, 10.9 cm)

Comprising a bulbous body with narrow neck and handle to the rear; radiating petals on the neck with a band of volute scrolls below, the body showing a female in a dynamic pose, dressed in an elaborate long dress and holding a plate of fruit with her left hand, a seated female before her; attributed to the Meidian Painter; some restoration.

£1,800 - 2,400

PROVENANCE:

Ex Prof. Dr Hans (1918-1984) and Dr Ines (1922-2013) Jucker, classical archaeologists, Bern, Switzerland. with Galerie Rhéa, Zurich, Switzerland.

FOOTNOTES:

Dancing women are a characteristic of the Meidian Painter. They are depicted as young women, wearing Doric costumes, earrings, pearls surmounting diadems, and golden bracelets, holding a patera and (probably originally here too) a thimiaterion

GREEK TERRACOTTA WHITE-GROUND PAINTED LEKYTHOS

ATTRIBUTED TO THE ATHENA PAINTER ‡

CIRCA 510-500 B.C.

10 in. (459 grams, 26.4 cm)

Cylindrical with stepped foot, five palmettes above the shoulder, dynamic frieze of two men visiting two hetairai, each of the figures dressed in long pleated garments, at the centre of the scene, a hetaira on the right reaching towards the bearded male and gently touching his chin with her open hand, a tall draped table behind her with an amphora underneath and a standing bird on the top.

£5,000 - 7,000

PROVENANCE:

H.A.C. (Herbert A. Cahn), 19 October 1979. Private collection, Bern, Switzerland.

Accompanied by an original thermoluminescence analysis report by Oxford Authentication.

FOOTNOTES:

The Athena Painter is known as the painter who designed several Greek blackfigure pottery works using the 5th-century BC white-ground technique. He specialized in lekythoi and refers to Athena as his main subject in his works. Together with the Theseus Painter, they continued the tradition of painting large lekythoi. His black figures are of high quality, and in addition to lekythoi, he decorated other potteries such as oenochoai. Some archaeologists say that he may have been the same person as the Bowdoin Painter of red-figure pottery, although they may have just worked in the same workshop.

GREEK ATTIC TERRACOTTA BLACK-FIGURE LEKYTHOS ATTRIBUTED TO THE ATHENA PAINTER ‡ CIRCA 490 B.C.

11½ in. (649 grams, 29.2 cm)

Nearly cylindrical body with a slightly sloping shoulder with five palmettes and eight dots in between; main image showing a Dionysian procession with two advancing nude satyrs facing a young male playing a double pipe, each of the satyrs leaning on a walking stick and having a long garment draped over their shoulders and wearing a fillet and a large wreath on their heads.

£7,000 - 9,000

PROVENANCE: Münzen und Medaillen A.G., H. Cahn, Basel, 24 April 1989. Private collection, Bern, Switzerland.

Accompanied by an original thermoluminescence analysis report by Oxford Authentication.

FOOTNOTES:

The Athena Painter is known as the painter who designed several Greek blackfigure pottery works using the 5th-century BC white-ground technique. He specialised in lekythoi and refers to Athena as his main subject in his works. Together with the Theseus Painter, they continued the tradition of painting large lekythoi. His black figures are of high quality, and in addition to lekythoi, he decorated other potteries such as oenochoai. Some archaeologists say that he may have been the same person as the Bowdoin Painter of red-figure pottery, although they may have just worked in the same workshop.

LARGE ETRUSCAN TERRACOTTA CAERETAN CYLINDERSTAMPED BRAZIER

7TH-6TH CENTURY B.C.

17½ in. (9.4 kg, 44.5 cm wide)

Comprising a wide and shallow body with everted rim; the internal wall and the upper face of the rim decorated with a procession of nude men in knielauf position, some holding a lituus in their left hand with their right hand raised up towards the sky, the other figures with both of their hands raised up, the figures alternating with figures of lions and antelopes; rosette to the centre.

£2,000 - 3,000

PROVENANCE: Acquired on the European art market in the early 2000s. with Galerie Rhéa, Zurich, Switzerland.

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

MONUMENTAL EARLY ETRUSCAN IMPASTO KYATHOS ‡

7TH CENTURY B.C.

9 in. (1.18 kg, 25 cm wide)

Fluted body tapering to a narrow foot, the shoulders decorated with tiered bosses, short neck with flared mouth; wide handle perforated with a triangle.

£3,500 - 4,500

PROVENANCE: Estate of Mr Bruno Fellinger (1926-2016), Küsnacht, Switzerland. with Galerie Rhéa, Zurich, Switzerland.

FOOTNOTES:

Buccheroid impasto is the name attributed by modern archaeologists to wheel thrown pottery. The clay in these specimens is less refined, and the firing techniques less precise than in the later bucchero ware.

GNATHIAN PLASTIC VASE IN THE SHAPE OF A WOMAN ‡

4TH-3RD CENTURY B.C.

12¼ in. (1.34 kg total, 31 cm high excluding stand)

Hollow-formed with broad chamfered base, body modelled as the head of a woman supporting the neck in the form of a trefoil oinochoe with a high, curving handle to the rear; moulded head with detailed swept hair wrapped in a cloth (sakkos), and stern facial features; circumferential painted band beneath the rim and vertical strokes; supplied with a custom-made stand.

£6,000 - 8,000

PROVENANCE:

Acquired from Galerie Simone de Monbrison, Rue Bonaparte, Paris, France, 1980.

Accompanied by a thermoluminescence analysis report no.N125e36 from Oxford Authentication.

Accompanied by a copy of French passport no.150924, dated 19 December 2013.

GREEK TERRACOTTA FACE OF A GORGONEION ‡

6TH-5TH CENTURY B.C.

6 in. (142 grams total, 15.5 cm including stand)

With large eyes and applied pupils, accentuated nose and open mouth with protruding tongue, hair indicated with regularly disposed lines; repaired, western Greek workmanship; mounted on a custommade display stand.

£800 - 1,000

PROVENANCE:

Ex Mr M.Q.F, Horgen, Switzerland, 1971. with Galerie Rhéa, Zurich, Switzerland.

FOOTNOTES:

A Gorgoneion was a protective symbol in ancient Greek art that depicts the head of the Gorgon, a mythical creature with snakes for hair and a terrifying gaze that could turn people to stone. The Gorgoneion was believed to have the power to ward off evil and protect the person who wore it or displayed it. The image of the Gorgoneion was often used as an apotropaic symbol to ward off evil or bad luck. It was often depicted on shields, armour, or even as an architectural feature on buildings. The symbol was also sometimes used in jewellery, such as amulets or pendants, and was believed to bring good luck and protection to the wearer. The most famous depiction of the Gorgoneion is probably the one on the aegis of the goddess Athena.

GREEK GOLD DIADEM WITH GLASS GEM ‡

1ST MILLENNIUM B.C.

11¾ in. (14 in.) (76.87 grams total, 30 cm (36 cm including stand))

Sheet-gold with tapering finials, central raised cell set with a two-tone glass insert imitating banded agate; mounted on perspex backing.

£800 - 1,000

PROVENANCE: with Galerie Rhéa, Zurich, Switzerland.

SCYTHIAN GOLD APPLIQUÉ

4TH-3RD CENTURY B.C.

1¾ in. (1.94 grams, 44 mm)

Sheet-gold panel with repoussé advancing leopard motif surrounded by a hatched border.

£700 - 900

PROVENANCE: Ex Mayfair gallery, London, UK, pre 1999.

ETRUSCAN GOLD LEECH EARRING ‡

3RD CENTURY B.C.

1 in. (7.61 grams, 30 mm)

Formed with a hollow c-shaped body adorned with five rows of hollow spheres and a double filigree ropework band, two rows of filigree hoops to the inner face.

£800 - 1,000

PROVENANCE: From the collection of a North American gentleman, formed in the 1990s.

LATE HELLENISTIC-EARLY ROMAN GEMSTONE, GOLD AND GLASS BEAD NECKLACE

CIRCA 2ND CENTURY B.C.-1ST CENTURY A.D.

16 in. (43 grams total, 44 cm including clasp)

Restrung necklace with oval semi-precious stones and gold-domed appliqués; double strand of Roman spherical blue glass beads, varying in hues and tones, and to the top of each strand a single appliqué with a gold discoid plaque set with a garnet polished stone to the left and a vibrant green aventurine stone to the right; a doubledomed appliqué behind each small plaque, and a larger discoid set with crystal on the left and pale amethyst to the right; central prominent chalcedony set discoid.

£3,500 - 4,500

PROVENANCE: Acquired on the UK art market prior to 2000.

ETRUSCAN CARNELIAN SCARAB OF A CHARIOTEER IN A LATER GOLD RING

3RD CENTURY B.C.

1 in. (4.26 grams, 25.07 mm overall, 17.77 x 16.22 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14))

Opaque scaraboid engraved with a dynamic scene of a charioteer driving a biga with his whip raised; set in a sheet-gold mount and a later swivel ring.

£4,000 - 6,000

PROVENANCE: Private English collection, formed between the late 1970s and early 1990s. Private collection, UK.

ROMAN GOLD PENDANT WITH ONYX CAMEO

2ND CENTURY A.D.

1 in. (4.03 grams, 26.90 mm)

Comprising a gold medallion and high-relief onyx cameo with female bust in profile facing right, the lower half of her face absent; the jawline and long neck finely carved, hair gathered in a low bun, drapery of the dress framing her face below; set within a gold sleeve and framed by a delicate border with a petal motif; gold loop for suspension.

£1,500 - 2,000

PROVENANCE: From the collection of a Cambridge lady, 1990s.

GREEK BRONZE JAR

LATE 1ST MILLENNIUM B.C.

4½ in. (263 grams, 11.6 cm wide)

Bell-shaped in profile with stepped sidewall, carinated shoulder and flared rim; domed and tiered underside with basal disc.

£400 - 600

PROVENANCE:

Ex property of a London, UK, gentleman, Mayfair gallery, 1990s.

BRONZE HANDLE OF A LEAPING PANTHER ‡ 2ND-4TH CENTURY A.D.

5½ in. (180 grams, 14 cm)

Roman or Parthian handle modelled in the round in leaping stance with forepaws extended, tail curled between the legs, mouth gaping in a roar; tab and sprue between the forelegs, bar between the hind feet; furniture fitting.

£800 - 1,000

PROVENANCE: Acquired in the 1980s.

Private collection, Switzerland, thence by descent.

Private collection, since the late 1990s.

IBERIAN BRONZE STATUETTE OF YOUTH ‡ 6TH-4TH CENTURY B.C.

4 in. (215 grams total, 11.8 cm high including stand)

Youthful male standing, wearing a belted tunic with apron, arms spread wide, barefoot, bare-headed with short textured hair; mounted on a custom-made base.

£3,000 - 4,000

PROVENANCE:

Private collection, Paris, France, assembled in the 1950s-1960s. with Tessier-Sarrou & Associés, Paris, 2015. European private collection.

Accompanied by a copy of French cultural export passport no.167803.

HELLENISTIC FURNITURE MOUNT WITH MIME ACTOR ‡ ALEXANDRIA, 1ST CENTURY B.C.

4¾ in. (130 grams total, 11.9 cm including stand)

Modelled with large prominent ears and neatly cut short hair, rounded facial detailing with large eyes and flattened nose, the upper body and hands wrapped inside a pleated cloak, hollow to the reverse; the bust emerging from a lotus flower resting atop a lion’s claw foot with a mounting spike on the reverse; mounted on a display stand.

£700 - 900

PROVENANCE: Collection of Ambassador G.P., nr.126, before 1965. with Galerie Rhéa, Zurich, Switzerland.

PARTHIAN BLUE-GLAZED WATER VESSEL

2ND CENTURY B.C.

5½ in. (278 grams, 14.1 cm)

Discoid in plan and biconvex in section with trumpet-shaped spout and loop to each shoulder; radiating fronds to tondo on each face.

£500 - 700

PROVENANCE:

Ex London, UK gallery, 1971-early 2000s. Private collection, London, UK.

HELLENISTIC IRIDESCENT PALE AQUA GLASS BOWL

MID 2ND-EARLY 1ST CENTURY B.C.

6 in. (374 grams, 15.7 cm wide)

Conical in profile, aqua glass with three incised bands below the rim on the inner face.

£2,000 - 3,000

PROVENANCE:

Dr Jutaro Kawabe, Nagoya, Japan, his collection formed in the 1960s-1970s. with Hoshigaoka Gallery until the late 1990s. Private collection, London, UK.

PARTHIAN BLUE GLAZED WATER VESSEL

2ND CENTURY B.C.

7½ in. (561 grams, 19.2 cm)

Discoid body and short tubular neck with everted rim, two loop handles.

£500 - 700

PROVENANCE:

Ex London, UK gallery, 1971-early 2000s. Private collection, London.

GREEK CORE-FORMED GLASS AMPHORISKOS

5TH-3RD CENTURY B.C.

7 in. (152 grams, 18 cm high)

Elongated piriform amphora shape, tubular neck and everted rim, decorated with polychrome festooning and trails, applied amber-green handles and knop foot.

£2,500 - 3,500

PROVENANCE: Acquired early 1990s.

Ex private American collection; thence by descent. Private collection since 1998.

ROMAN GARNET GEMSTONE WITH BUST OF JULIA DOMNA 2ND-3RD CENTURY A.D. ¾ in. (3.06 grams, 21 mm)

With incuse profile female bust with copious tiered curls and braids, palla to the shoulder; supplied with a museum-quality impression.

£3,000 - 4,000

PROVENANCE:

Ex London, UK, gentleman, 1990s.

FOOTNOTES:

Julia Domna (170-217 A.D.) was one of the most honoured imperial women in the course of the Principate. Almost 600 inscriptions bear her name; numerous coin types portray her together with the emperors; important artworks where she is depicted (such as the Kassel Cameo, the Arch of the Argentarii and the Severan Arch in Leptis Magna) demonstrate that she occupied no secondary position in the Severan regime. She appears, consequently, to be a key figure of this period.

ROMAN CARNELIAN GEMSTONE OF ATHENA ‡ 1ST-2ND CENTURY A.D. in. (0.87 grams, 17 mm)

Ellipsoid in plan with incuse profile bust of Athena wearing a Corinthian style helmet; supplied with a museum-quality impression.

£800 - 1,000

PROVENANCE:

Acquired in the mid 1980s-1990s.

Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

ROMAN CARNELIAN GEMSTONE WITH VULCAN ‡ 1ST CENTURY B.C.-1ST CENTURY A.D. in. (0.25 grams, 10 mm)

Depicting a nude blacksmith seated on a stool before a forge, hammer in his right hand, holding an object he is hammering with the other hand.

£300 - 400

PROVENANCE:

Private collection, North Germany. with Gorny & Mosch, 14 December 2005, no.238.

FOOTNOTES:

Probably a Roman copy of a Hellenistic subject. Some Roman ring intaglios were dedicated to Vulcan (Greek Hephaestus), god of the blacksmiths, artisans, and carpenters. Usually, the god is represented standing or working in his forge, wearing a wide-brimmed hat and a one-shouldered tunic, identifying him as a craftsman. In his right hand, he holds a hammer over an anvil, and in his left a pair of long metalworking tongs. Sometimes he is naked, seated and working.

ROMAN LEDA AND THE SWAN CARNELIAN GEMSTONE 2ND-3RD CENTURY A.D. in. (4.37 grams, 23.66 mm)

An oval intaglio with an engraved image of Leda on a low couch copulating with Zeus in swan-form, set in a fragmentary silver ring.

£300 - 400

PROVENANCE:

Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.

ROMAN BANDED AGATE CAMEO WITH BUST OF CUPID 2ND CENTURY A.D. ½ in. (0.41 grams, 13 mm)

With a bust of Cupid, the god of love, facing right; supplied with a museum-quality impression.

£1,000 - 1,400

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

ROMAN NICOLO GEMSTONE OF HERMES

LATE 1ST CENTURY B.C. in. (0.34 grams, 12 mm)

With a intaglio bust of the god Hermes facing left; supplied with a museum-quality impression.

£800 - 1,000

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

ROMAN SARD GEMSTONE WITH A MAENAD MASK 1ST CENTURY B.C.-1ST CENTURY A.D. in. (0.49 grams, 11 mm)

With intaglio profile bust of a woman facing left; supplied with a museum-quality impression.

£400 - 600

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

ROMAN SAPPHIRE GEMSTONE OF A CRAB 1ST CENTURY B.C. ¼ in. (0.61 grams, 8 mm)

With intaglio depiction of a crab; supplied with a museum-quality impression.

£1,500 - 2,000

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s.

Private collection, London, UK.

ROMAN CHROME CHALCEDONY GEMSTONE OF A PHILOSOPHER

1ST CENTURY A.D. in. (0.38 grams, 10 mm)

With intaglio profile bust of a bearded male facing left; supplied with a museum-quality impression.

£1,200 - 1,700

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

ROMAN SARDONYX CAMEO OF A SLEEPING DOG WITH GREEK INSCRIPTION

2ND-3RD CENTURY A.D. ½ in. (0.61 grams, 12 mm)

With a cameo image of a lying dog curled to the right, ancient Greek lettering below ‘ (sic)’: either ‘Be wakeful’ or ‘(ring/seal) of Gregory.

£1,500 - 2,000

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

ROMAN GARNET CAMEO OF EROS 1ST CENTURY B.C.-1ST CENTURY A.D. in. (0.76 grams, 9 mm)

With the head of Eros, the god of love, facing; supplied with a museum-quality impression.

£800 - 1,000

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

ROMAN BANDED AGATE CAMEO OF A SLEEPING DOG

3RD CENTURY A.D.

½ in. (0.72 grams, 12.7 mm)

With a cameo image of a lying dog curled to the right; supplied with a museum-quality impression.

£300 - 400

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s.

Private collection, London, UK.

ROMAN CHROME CHALCEDONY GEMSTONE OF A NOBLE LADY

2ND CENTURY A.D.

½ in. (0.62 grams, 13 mm)

With intaglio profile bust of a wealthy lady facing left, possibly an empress; supplied with a museum-quality impression.

£600 - 800

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s.

Private collection, London, UK.

ROMAN CARNELIAN GEMSTONE OF A THEATRE MASK

1ST CENTURY A.D. in. (0.39 grams, 10 mm)

With a New Comedy, The Cook Type theatre mask, facing with open mouth; supplied with a museum-quality impression.

£1,000 - 1,400

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s.

Private collection, London, UK.

ROMAN GARNET CAMEO OF A GROTESQUE HEAD

1ST CENTURY A.D. in. (0.95 grams, 10 mm)

With head of a grotesque facing; supplied with a museum-quality impression.

£300 - 400

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s.

Private collection, London, UK.

ROMAN SARDONYX CAMEO OF A LEAPING STAG

2ND-3RD CENTURY A.D. in. (0.43 grams, 11 mm)

With a cameo image of a male antelope jumping right; supplied with a museum-quality impression.

£500 - 700

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s.

Private collection, London, UK.

ROMAN CHROME CHALCEDONY GEMSTONE OF GRYLLUS

1ST CENTURY A.D.

in. (0.31 grams, 9 mm)

With intaglio composite profile bust of a helmetted female (possibly depicting Minerva) facing left, and two other heads, one emerging from the helmet and the other beneath the neck; supplied with a museum-quality impression.£700 - 900

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

ROMAN SARDONYX CAMEO OF AN EAGLE

2ND-3RD CENTURY A.D.

in. (0.65 grams, 16 mm)

With a cameo image of a bird, probably an eagle, facing left; supplied with a museum-quality impression.

£2,000 - 3,000

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

ROMAN SARD GEMSTONE OF A PANTHER

1ST CENTURY A.D.

in. (0.32 grams, 11 mm)

With intaglio profile image of a large cat prone to the left; supplied with a museum-quality impression.

£2,000 - 3,000

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

FOOTNOTES:

This depiction clearly belongs to a series of renderings of felines as the mounts, draught animals, and companions of Dionysus/Bacchus, and of the personages connected with him. Lions, panthers and leopards are among the attributes of the god Bacchus and a part of his thiasos (retinue).

ROMAN AGATE CAMEO OF A THEATRE MASK

1ST CENTURY A.D.

½ in. (1.07 grams, 13 mm)

Showing a New Comedy, The Cook Type theatre mask, with an open mouth; supplied with a museum-quality impression.

£1,500 - 2,000

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

ROMAN SAPPHIRE GEMSTONE OF BACCHUS

1ST CENTURY B.C.

½ in. (1.41 grams, 12 mm)

With intaglio profile bust of the god Bacchus facing left; supplied with a museum-quality impression.

£2,500 - 3,500

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

FOOTNOTES:

During and after the Alexandrine period, the character of Greek gems changed considerably: the type of figure became softer and more feminine in beauty, Homeric scenes were no longer represented, and deities such as Apollo, Aphrodite or Dionysus, with subjects relating to the theatre or musical contests, became the favourite motifs for representation.

ROMAN WOODEN TABLET FROM THE WILL OF THE FATHER OF IULIA IANUARIA MADE ON THE GORETIANO ESTATE IN THE PROVINCE OF BYZACENA

EARLY 4TH CENTURY A.D.

9¼ x 6 in. (65 grams, 23.5 x 17.6 cm)

Well preserved rectangular tablet with a recessed panel to each face; the third and last tablet of a Roman will; both sides inscribed in Roman cursive script using ink and calamus, twenty-one lines of Roman cursive script written within the recess, some text is lost on the right half of both the inner and outer face; on the inner face partially damaged surface; on the other side sixteen lines of cursive script with a half-line at the right edge; two small holes both near the upper and lower rim (for binding the tablets of this document together); the text consists of testamentary dispositions and ends with the obligatory mancipatory formula of Roman testaments; mentioned is a Iulius Fortunatus. [No Reserve]

£2,000 - 3,000

PROVENANCE:

Acquired by Albert Sfez in the early 1950s.

Formerly the property of Monsieur Alain Sfez, a Belgium collector; acquired by gift from his father Albert Sfez, in 1965.

Acquired by a London dealer in 1973.

From an important London collection since 1975; thence by descent.

Accompanied by a copy of an illustrated academic report by Professor Dr phil. Peter Rothenhöfer.

EXHIBITED:

The Harwich Museum, Harwich, Essex, UK, 27th August-10th December 2025; accompanied by a copy of a photograph of the artefacts on display.

FOOTNOTES:

Professor Dr phil. Peter Rothenhöfer writes: ‘Without any doubts this tablet is an original document from Roman times. Because only few Roman testaments have survived this document is of great importance both for Roman Legal and Social History’.

ROMAN WOODEN TABLET WITH TESTAMENTARY DISPOSITIONS OF IULIUS POMP(ONIUS)

MID 4TH CENTURY A.D.

8 x 6 in. (106 grams, 20.2 x 16.2 cm)

The third and last tablet of a Roman will made by Iulius Pomp(onius?), parts of lost surface on the inner face, two small holes both at the upper and lower rim (for binding the tablets of this document together); on the inner face the recess inscribed with twenty-one lines of Roman cursive script consisting of testamentary dispositions regarding a special category of fields (gemiones), ending with the mancipatory formula of Roman testaments; on the outer face two sulci and signatures of witnesses. [No Reserve]

£3,000 - 4,000

PROVENANCE:

Acquired by Albert Sfez in the early 1950s.

Formerly the property of Monsieur Alain Sfez, a Belgium collector; acquired by gift from his father Albert Sfez, in 1965. Acquired by a London dealer in 1973.

From an important London collection since 1975; thence by descent.

Accompanied by a copy of an illustrated academic report by Professor Dr phil. Peter Rothenhöfer.

EXHIBITED:

The Harwich Museum, Harwich, Essex, UK, 27th August-10th December 2025; accompanied by a copy of a photograph of the artefacts on display.

FOOTNOTES:

ROMAN GOLD RING WITH EMERALD GEMSTONE

3RD CENTURY A.D.

1 in. (4.04 grams, 24.52 mm overall, 17.00 mm internal diameter (approximate size British L½, USA 6, Europe 11.87, Japan 11))

Comprising a rectangular-section hoop and steep scooped shoulders rising to a rectangular bezel, inset emerald cabochon.

£1,200 - 1,700

PROVENANCE:

Acquired from Bertolami Fine Arts Ltd, Addlestone, UK, auction 66, no.500. From a private Tyneside collection, formed since the early 2000s. Accompanied by a copy of the original Bertolami invoice.

ROMAN GOLD RING WITH BANDED AGATE CABOCHON ‡

3RD-4TH CENTURY A.D.

¾ in. (2.45 grams, 20.32 mm overall, 11.79 x 16.35 mm internal diameter (approximate size British E½, USA 2½, Europe 3, Japan 3))

Round-section hoop with granule cluster to each shoulder, ellipsoid cell with inset banded agate cabochon; one end of the bezel and outer edge of hoop damaged.

£700 - 900

PROVENANCE:

Private family collection, acquired in the 1980s. with Christie’s, New York, Ancient Jewellery, 11 December 2003, no.506.

Property of a European collection.

ROMAN GOLD RING WITH VESSEL GEMSTONE CIRCA 2ND-3RD CENTURY A.D.

1 in. (5.88 grams, 24.02 mm overall, 19.60 mm internal diameter (approximate size British S, USA 9, Europe 20, Japan 19))

With facetted hoop, ellipsoid cell to the bezel with inset carnelian gemstone, intaglio image of a kantharos; accompanied by a museumquality impression. [No Reserve]

£600 - 800

PROVENANCE:

From the collection of a Surrey gentleman; acquired 1970-1980.

FOOTNOTES:

From the middle of the 3rd century AD, gem production in the Roman Empire declined rapidly. At the same time the first Christian motifs began to be visible on the rings.

99 ROMAN GOLD RING WITH STORK GEMSTONE 2ND-3RD CENTURY A.D.

¾ in. (3.19 grams, 19.79 mm overall, 18.06 x 11.63 mm internal diameter (approximate size British E, USA 2¼, Europe 2.41, Japan 2))

Comprising a D-shaped hoop with angled shoulders, raised oval bezel set with a carnelian intaglio bearing the image of a standing stork on a baseline.

£500 - 700

PROVENANCE:

From a Dunmow, UK, collection; formed from 1970.

100

ROMAN GOLD RING WITH BLACK CHALCEDONY DIOSCOUROS GEMSTONE

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

in. (1.82 grams, 23.33 mm overall, 16.98 mm internal diameter (approximate size British K½, USA 6, Europe 16, Japan 11).)

Hollow-formed gold ring with round-section hoop and a tall oval bezel set with a black chalcedony cloison with incised image of a Dioscuros facing left, naked apart from a long fringed cape and a galea (Roman helmet), holding a large shield to his left side and with a horse to his right.

£2,000 - 3,000

PROVENANCE: From a collection of ancient rings, 1980s.

101

ROMAN GOLD RING WITH ONYX NUBIAN BUST CAMEO

3RD CENTURY A.D.

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

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

£5,000 - 7,000

PROVENANCE:

Acquired 1970-1990.

Ex property of a deceased lady.

102

ROMAN GOLD RING WITH ELLIPTICAL GARNET

1ST-3RD CENTURY A.D.

1 in. (8.36 grams, 25.87 mm overall, 19.48 mm internal diameter (approximate size British P½, USA 7¾, Europe 16.86, Japan 16))

Comprising a substantial keeled hoop and raised bezel set with a garnet, the garnet with a central lozenge flanked by two transverse lines.

£3,000 - 4,000

PROVENANCE: Private English collection. Private collection, UK.

103

ROMAN CHILDREN’S GOLD AND GEMSTONE RING GROUP

1ST-2ND CENTURY A.D. -½ in. (3.82 grams total, 9-13 mm)

Comprising three rings, the largest ring set with a garnet intaglio with a standing male figure (Odysseus shooting with his bow); the slightly smaller ring set with an emerald; the smallest ring set with a garnet intaglio of an amphora; accompanied by a custom-made display stand. [3]

£2,000 - 3,000

PROVENANCE: Private English collection, formed between the late 1970s and early 1990s. Private collection, UK.

104

ROMAN GOLD PENDANT WITH CARNELIAN INTAGLIO OF GODDESS VENUS

1ST-2ND CENTURY A.D. in. (5.68 grams, 22 mm)

Gold cell with flange rim and three lateral loops; inset intaglio of a cloaked goddess (Venus) with a distaff and diadem, caressing a hare.

£3,000 - 4,000

PROVENANCE:

From the collection of a deceased Lady collector, 1970s.

FOOTNOTES:

Symbol of fertility and of good luck, the hare became a popular motif in the preRoman Era on the coins of Messina, Etruscan art and coins and Calenian pottery. The hare was a sacred animal to Venus (Aphrodite), often depicted in her worship and associated with love and fertility.

105

ROMAN GOLD EARRING WITH MATCHED COPY

2ND-3RD CENTURY A.D. AND LATER

1¾ in. (7.25 grams total, 46 mm)

Featuring a large central boss with and pendant decorated with fine granulation; discus decorated with a central cluster of granulation with four simple granules to the edges; boss framed with gentle ropework around the edges; hanging pendants with a cylindrical bead, and cluster of granulated hollow spheres; with another reproduction earring to make a pair. [2]

£1,000 - 1,400

PROVENANCE:

Ex collection of a deceased Japanese gentleman, 1970-2010.

106

ROMAN GOLD HOOP EARRING PAIR WITH PEARL DROPS

1ST-4TH CENTURY A.D.

1 in. (2.53 grams total, 26-27 mm)

Each hoop with hook-and-eye closure and granule, wire dangle with pearl seed bead. [2]

£300 - 400

PROVENANCE: Ex Graham Slater collection, Cambridge, 1980s-1990s.

107

ROMAN GOLD APPLIQUÉ WITH MAGICAL SYMBOLS

1ST-4TH CENTURY A.D.

7½ in. (0.98 grams, 19.2 mm)

A repoussé disc with beaded border, esoteric magical symbols to the centre including a winged phallus, a scorpion, a snake, a dog / wolf, a squirrel(?) and a fish/dolphin; a small loop to the reverse.

£350 - 450

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, UK.

108

ROMAN GOLD SPIRAL-TWISTED WIRE BRACELET WITH CENTRAL BEZEL ‡

2ND-3RD CENTURY A.D.

3 in. (35.78 grams, 80 mm)

Penannular hollow-form bracelet formed from a spiral-wound rod with an end-cap and loop; closure by means of a hollow-formed cap with fluted sidewall and dome to upper face with granulation detailing.

£4,000 - 6,000

PROVENANCE: with Bukowski’s Stockholm, December 2002, no.719.

Acquired by the current owner from the above.

Private collection, Stockholm.

Accompanied by copies of a Swedish cultural export licence, no. RAA-20251646.

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

FOOTNOTES:

Such bracelets were widespread in the Roman period, during the 2nd and 3rd centuries A.D., with a variation of dimensions, bezels and materials. On some artefacts, the sleeves making up the twist were hollow tubes filled with stucco, resin or plaster, preventing them from deforming. The stucco was left in the sleeve to give it a greater impact resistance, but this did not allow for longer welding of the tubes by fire, because the composition would boil.

110

ROMAN AMBER GLASS BOTTLE WITH TRAIL

1ST CENTURY A.D.

3½ in. (21.77 grams, 90 mm)

With bulbous body, tall tubular neck, broad everted rim; applied trail from lower neck to base; extensive iridescence.

£400 - 600

PROVENANCE: Previously from a German private collection. Acquired Sotheby’s, London, 13 & 14 July 1981, no.442 (illus). From a private Wiltshire, UK, collection.

Accompanied by a copy of the relevant Sotheby’s catalogue pages.

112

ROMAN BLUE-GREEN GLASS CUP

3RD CENTURY A.D.

3 in. (42 mm, 78 mm)

With dimpled base, carinated flange to foot and waisted body with applied trail beneath the shoulder, flared rim.

£300 - 400

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

109

ROMAN COBALT BLUE GLASS BOTTLE WITH TRAIL

CIRCA 1ST CENTURY A.D.

3¾ in. (38.2 grams, 95 mm)

Piriform with rounded rim and underside, applied white glass trail in spiral from shoulder to base.

£500 - 700

PROVENANCE:

Acquired Christie’s, London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, no.5 (illus).

From a private Wiltshire, UK, collection.

Accompanied by a copy of the relevant Christie’s catalogue pages.

111

ROMAN GLASS MOULD BLOWN JAR

3RD-4TH CENTURY A.D.

3¾ in. (87 grams total, 95 mm including stand)

With bulbous body featuring a low-relief interlocking octagonal cells and trumpet-style neck and rim; iridescent surfaces; mounted on a custom-made stand.

£500 - 700

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

113

LARGE EASTERN ROMAN GREEN GLASS BOTTLE WITH IRIDESCENCE

2ND-3RD CENTURY A.D.

11 in. (945 grams, 29.5 cm high)

Piriform in profile with a narrow neck and flared mouth with a chamfered rim, dimple base.

£2,500 - 3,500

PROVENANCE:

From the Xavier Guerrand-Hermès private collection. with Artcurial, Paris, 25 March 2014, no.39. Private collection, London, UK.

114

ROMAN GLASS FLASK WITH DOTTED ROSETTES

2ND CENTURY B.C.-1ST CENTURY A.D.

8 in. (254 grams total, 20.8 cm)

Conical body with rounded base, applied clusters of blue glass around the body, everted rim; traces of iridescence; mounted on a custommade stand.

£1,000 - 1,400

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

113

116

ROMAN PALE GREEN GLASS JAR

2ND-3RD CENTURY A.D.

3 in. (62.53 grams, 98 mm)

With applied disc base, flared neck and rounded rim.

£300 - 400

PROVENANCE:

Acquired Christie’s, London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, no.12 (part).

From a private Wiltshire, UK, collection.

Accompanied by a copy of the relevant Christie’s catalogue pages.

118

ROMAN PALE GREEN GLASS CUP

CIRCA 3RD CENTURY A.D.

3 in. (54 grams, 85 mm)

With slightly dimpled base, carinated flange to foot and tubular body, flared rim.

£300 - 400

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

115

ROMAN FOOTED AMBER GLASS CUP

2ND-3RD CENTURY A.D.

4½ in. (100 grams, 11.3 cm wide)

Comprising a deep body with a wide, upturned rim; applied conical foot.

£400 - 600

PROVENANCE: Previously from a German private collection.

Acquired Sotheby’s, London, 13 & 14 July 1981, no.482 (illus).

From a private Wiltshire, UK, collection.

Accompanied by a copy of the relevant Sotheby’s catalogue pages.

117

ROMAN MOULDED IRIDESCENT GLASS CUP

1ST CENTURY A.D.

4 in. (185 grams, 12.4 cm wide)

With rounded base and rounded rim; parallel ribs to the upper body below the rim; partly restored.

£700 - 900

PROVENANCE: Ex London, UK, gentleman, 1990s.

119

ROMAN MOULD BLOWN AUBERGINE GLASS JAR

CIRCA 3RD CENTURY A.D.

3 in. (72 grams, 77 mm)

Of squat profile with dimples to the equator, gussetted neck, broad mouth with rolled and everted rim; dimple to the underside.

£500 - 700

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

121

ROMAN DEEP BLUE GLASS DATE FLASK ‡

1ST CENTURY A.D.

3 in. (41.7 grams, 80 mm)

Mould-blown with elliptical body, short neck and thick everted rim, with modelled wrinkles imitating the texture of a dried date.

£2,500 - 3,500

PROVENANCE: Dr Gonik & Me Wirth, Geneva, 1970s. Private collection, Europe.

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

FOOTNOTES:

Dates were not only a staple of the Mediterranean diet, used to sweeten food and wine, but also a symbol for the New Year and a fruit often given as a gift on the occasion.

120

ROMAN PILLAR-MOULDED HONEY-COLOURED GLASS BOWL WITH FINE IRIDESCENCE

3RD-4TH CENTURY A.D.

4 in. (164 grams, 11.1 cm wide)

With iridescent surface, narrow base and vertical ribbed segmentation to the sidewall, gently flared rim.

£700 - 900

PROVENANCE:

Ex London, UK, gentleman, 1990s.

122

ROMAN OLIVE GREEN GLASS VESSEL WITH BLUE SPOT DECORATION

1ST-2ND CENTURY A.D.

2 in. (37.8 grams, 68 mm)

With tapering sidewall and flared rim, applied blue glass splashes.

£300 - 400

PROVENANCE:

Acquired Christie’s, London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, no.6 (part).

From a private Wiltshire, UK, collection.

Accompanied by a copy of the relevant Christie’s catalogue pages.

124

ROMAN GLASS DOUBLE UNGUENTARIUM

4TH-5TH CENTURY A.D.

5¼ in. (89 grams total, 13.5 cm including stand)

Comprising two conjoined tapering tubular cells, with applied handles at the shoulder; mounted on a custom-made stand.

£400 - 600

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

126

ROMAN LIGHT GREEN GLASS LAMP

CIRCA 4TH CENTURY A.D.

3 in. (41 grams, 80 mm)

Tapering body with pontil base, slightly everted rim; traces of iridescence.

£300 - 400

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

123

ROMAN IRIDESCENT BLUE GLASS FLASK

2ND-3RD CENTURY A.D.

6 in. (198 grams total, 16.2 cm including stand)

Of fusiform type with a rolled lip and thick rounded bottom; iridescent surface.

£500 - 700

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

125

ROMAN MARBLED BLUE GLASS BOTTLE ‡ 1ST CENTURY A.D.

3¼ in. (19.7 grams, 83 mm)

An iridescent unguentarium with piriform body, tubular neck with everted rolled rim.

£1,200 - 1,700

PROVENANCE:

Acquired on the European art market in 2001.

127

LARGE ROMAN CUT GLASS BEAKER

4TH-5TH CENTURY A.D.

7¼ in. (289 grams, 18.5 cm)

A beaker or lamp with thick conical body and pontil base, five horizontal grooves cut around the body; traces of iridescence.

£2,000 - 3,000

PROVENANCE:

Dr Jutaro Kawabe, Nagoya, Japan, his collection formed in the 1960s-1970s. with Hoshigaoka Gallery until the late 1990s. Private collection, London, UK.

FOOTNOTES:

Conical vessels of this form were either used as a lamp or a beaker; notably during the late imperial period in the eastern provinces of the Roman Empire and in the early Migration period. Deep cuts on this piece suggest it was used with suspension chains or ropes, making it highly likely that this example was used as a lamp.

129

ROMAN GLASS CUP WITH WHEEL-CUT LINES

1ST-2ND CENTURY A.D.

3¾ in. (131 grams, 95 mm)

With biconvex body, dimple base, convex rim, wheel-cut circumferential bands.

£700 - 900

PROVENANCE:

From an important London collection of glass, 1990s.

FOOTNOTES:

This form is similar to beakers produced in Roman Cyprus. The rim and the wall of these objects are very thin; in one similar beaker in the Cesnola collection they are less than 0.1 cm thick. They belong to the Vessberg beaker type A.II.

128

ROMAN DECORATED MOULD BLOWN GLASS AMPHORISKOS

CIRCA 1ST-2ND CENTURY A.D.

3¾ in. (82 grams total, 95 mm including stand)

Comprising a biconvex body with ellipsoid base, short neck with everted rim and strap handle; the body facetted, with concentric rings to the central panel on each side; mounted on a custom-made stand.

£2,000 - 3,000

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

130

ROMAN GLASS THIMBLE

1ST-4TH CENTURY A.D.

1 in. (6.47 grams, 23 mm)

Narrow tubular type with domed end and impressed dimples.

£300 - 400

PROVENANCE:

From an important collection of a London gentleman, UK, 1990s.

132

ROMAN OR GANDHARAN SILVER FLAT-BOTTOM BOWL

CIRCA LATE 1ST CENTURY B.C.-EARLY 1ST CENTURY A.D.

6¾ in. (244 grams, 17 cm)

Squat in profile with a gently domed base, curved sidewall with carination below the rim.

£1,500 - 2,000

PROVENANCE:

Acquired from a private UK collection prior to 1979.

Ex Julian Sherrier collection, a leading figure in Gandharan art. with Christie’s, New York, sale 2337, 14th September 2010, no.51 (part).

Accompanied by the original Christie’s lot ticket and bar code label.

131

ROMAN SILVER MIRROR

1ST-3RD CENTURY A.D.

5 in. (7 in.) (239 grams, 13.8 cm (426 grams total, 20.1 cm including stand))

Discoid with raised, rounded rim; a 19th-century collection label bearing a handwritten inscription: ‘GAS, Miroir, Gallo Romain’ indicating the findspot; mounted on a custom-made display stand with serpentine column base.

£1,200 - 1,700

PROVENANCE:

19th century collection label inscribed in ink ‘GAS, Miroir, Gallo-Romain’, indicating that the mirror was discovered at Gas, Eure-et-Loir, northern France. Private collection, UK.

FOOTNOTES:

The British Museum houses several notable ancient Roman silver hand mirrors, including:

1. Bursa Treasure Mirror – Part of the Bursa Treasure, a 1st-century AD Roman silver hoard discovered near Bursa, Turkey. This collection includes a large silver mirror, reflecting the luxurious personal items used by elite Roman women.

2. Chaourse Treasure Mirror – found in 1883 near Chaourse, France, this 2nd–3rd century AD hoard contains various silver objects, including a silvered bronze mirror, offering insights into the affluent lifestyles of Roman society. These mirrors exemplify the exquisite craftsmanship and refined artistry of Roman silverwork, providing a glimpse into the daily grooming practices and material culture of the Roman elite.

133

ROMAN OR GANDHARAN SILVER BOWL

CIRCA LATE 1ST CENTURY B.C.-EARLY 1ST CENTURY A.D.

7 in. (233 grams, 18.1 cm)

Squat in profile with gently domed base, curved sidewall with carination below the rim.

£1,500 - 2,000

PROVENANCE:

Acquired from a private UK collection prior to 1979.

Ex Julian Sherrier collection, a leading figure in Gandharan art. with Christie’s, New York, sale 2337, 14th September 2010, no.51 (part).

Accompanied by the original Christie’s bar code label.

134

ROMAN OR GANDHARAN SILVER CARINATED CUP

CIRCA LATE 1ST CENTURY B.C.-EARLY 1ST CENTURY A.D.

4 in. (95 grams, 10.4 cm)

Formed from a single sheet, the ovoid base carinated with plain upper portion, slightly flared lip to the rim.

£3,000 - 4,000

PROVENANCE:

Acquired from a private UK collection prior to 1979.

Ex Julian Sherrier collection, a leading figure in Gandharan art. with Christie’s, New York, sale 2337, 14th September 2010, no.56A (part).

Accompanied by the original Christie’s lot ticket.

136

ROMAN OR GANDHARAN SILVER CUP

CIRCA LATE 1ST CENTURY B.C.-EARLY 1ST CENTURY A.D.

4½ in. (232 grams, 11.4 cm)

Hemispherical in profile with rounded underside, thickened rim.

£1,500 - 2,000

PROVENANCE:

Acquired from a private UK collection prior to 1979.

Ex Julian Sherrier collection, a leading figure in Gandharan art. with Christie’s, New York, sale 2337, 14th September 2010, no.41 (part).

Accompanied by the original Christie’s lot ticket.

135

ROMAN OR GANDHARAN DECORATED SILVER ARYBALLOS

CIRCA LATE 1ST CENTURY B.C.-EARLY 1ST CENTURY A.D.

2½ in. (46 grams, 66 mm)

Globular in profile with basal ring, punched band of teardrops to the shoulder, trumpet-shaped neck with everted and rolled rim.

£1,000 - 1,400

PROVENANCE:

Acquired from a private UK collection prior to 1979.

Ex Julian Sherrier collection, a leading figure in Gandharan art. with Christie’s, New York, sale 2337, 14th September 2010, no.40 (part).

Accompanied by the original Christie’s lot ticket.

137

ROMAN SILVER MILITARY BELT PLAQUE

CIRCA 4TH CENTURY A.D.

2½ in. (48.7 grams, 66 mm)

Square plaque from a baldric or military belt, with an engraved circle in the centre depicting a shepherd resting under a tree with two crossed branches, leaning on his staff with a greyhound beside him. [No Reserve]

£600 - 800

PROVENANCE:

From a UK collection since before 1990.

138

ROMAN SILVER BOWL

2ND CENTURY A.D.

5¼ in. (322 grams, 13.2 cm wide)

Bell-shaped with thickened rim and rounded underside.

£650 - 750

PROVENANCE: Acquired early 1990s.

Ex private American collection; thence by descent.

Private Swiss collection since 1998.

139

ROMAN SILVER STATUETTE

2ND-1ST CENTURY A.D.

1¾ in. (19.97 grams, 44 mm)

Modelled in the round standing on a square base, wearing a kneelength chiton; right hand held out flat, left hand supporting a frond; short hair and exaggerated nose. [No Reserve]

£300 - 400

PROVENANCE:

From a private Tyneside collection, formed since the early 2000s.

140

‘THE THORPE AUDLIN’ ROMANO-BRITISH ENAMELLED BOW BROOCH

CIRCA 2ND CENTURY A.D.

2¼ in. (13.7 grams, 57 mm)

Comprising: discoid head with raised rectangular neck, tongueshaped bow with tapered end; the head decorated extensively with a raised triskele style pattern, with retained enamel in alternate yellow and red colours; the body with a raised longitudinal running linear border bisected by four latitudinal borders; within each subrectangular cell, a crescent border with central raised pellet; within each cell created by the raised borders, retained enamel in alternating red and yellow; the reverse undecorated with lug and chord, catchplate to lower end.

£400 - 600

PROVENANCE:

Found by Mr Wayne Colbeck whilst searching with a metal detector in Thorpe Audlin, Wakefield, Yorkshire, UK, in 2014.

Accompanied by a copy of the British Museum’s Portable Antiquities Scheme (PAS) report no.YORYM-D5BBD5.

Accompanied by the finder’s original copy of the York Archaeological Trust’s object entry form dated 31 October 2014 with reference no.E001019.

EXHIBITED:

The Harwich Museum, Harwich, Essex, UK, 27th August-10th December 2025; accompanied by a copy of a photograph of the artefacts on display.

FOOTNOTES:

Sally Worrell, National Finds Advisor has been unable to locate any comparable examples of this form of brooch. It has been designated by the British Museum as a ‘Find of Note’ and of ‘Regional Importance’.

141

MONUMENTAL ROMAN MARBLE HEAD OF A GREEK PHILOSOPHER, PROBABLY DIOGENES ‡ 1ST CENTURY B.C.-1ST CENTURY A.D. 23 in. (47.6 kg total, 60 cm including stand)

Carved in the round bust of a cynical, mature philosopher with short tousled hair and thick beard, exaggerated protruding eyes and gaunt facial features, the mouth modelled slightly open as if the subject is in pain; mounted on a custom-made stand.

£20,000 - 30,000

PROVENANCE: Private collection, Paris, 1980s. European private collection.

Accompanied by a copy of French passport no.237041. Accompanied by an academic report by Professor Neritan Ceka.

FOOTNOTES:

The portrait head was initially meant to be assembled on a statue. Chisel marks at the neck level indicate a relatively late separation of the head from the body, which must have been twice its natural size. The working of the back of the head suggests that the sculpture was exposed only to the front. The search for realistic traits brings this head close to the Hellenistic portraits of the 3rd and 2nd centuries BC, representing socially disadvantaged people of different ages and situations, such as fishermen and peasants, in the so-called genre sculptures. This presentation would be in contrast to the supernatural proportions of the portrait, which should have represented an elderly, publicly known person, poet, or philosopher, exhibited in his city of origin. In this respect, it would be more suited to the representation of a Cynical philosopher, in the model of Diogenes of Villa Albani. The almond-shaped eyes without drilled pupils, engraved eyes, and the absence of a deep drilling technique on hair date the portrait between the 1st century BC and the 1st century AD.

142

ROMAN BRONZE LOWER SECTION OF ADONIS-TAMMUZ STATUE

2ND-3RD CENTURY A.D.

4 in. (128 grams, 10 cm)

Modelled in the round as a belted torso and legs with tiered tasselled robes and bare feet. [No Reserve]

£800 - 1,000

PROVENANCE: UK art market, 1981. Private collection, London, UK.

FOOTNOTES:

Adonis was the offspring of an incestuous union between Smyrna and Cinyras. As an infant, he was given by Venus (Aphrodite) to Persephone for protection, but later became an object of desire for both, resulting in a decision by Zeus that he would spend four months with Persephone, four months with Venus and four months with whomever he wished. According to mythological traditions, Adonis was killed by a wild boar during a hunt - either sent by Artemis, or Ares in disguise. Aphrodite pleaded for Adonis’ life with Zeus, who allowed the youth to spend half of each year with her and half in the underworld.

143

‘THE KNIVETON’ ROMANO-BRITISH ENAMELLED BRONZE DRINKING HORN RIM

2ND CENTURY A.D.

2 in. (52 grams, 53 mm)

A sub-circular rim, emulating the natural shape of a cow-horn aperture, with alternating triangular inlaid cells of red and blue enamel, the lower internal socket with the remains of three fixing rivets.

£300 - 400

PROVENANCE:

Found whilst searching with a metal detector in Kniveton, Derbyshire Dales, East Midlands, UK.

Accompanied by a copy of the British Museum’s Portable Antiquities Scheme (PAS) report no.WWID-7C901E.

FOOTNOTES:

The British Museum’s Portable Antiquities Scheme (PAS) states: ‘This is a find of note and has been designated: County / local importance’.

144

LARGE ROMANO-BRITISH BRONZE DOLPHIN MOUNT

2ND-3RD CENTURY A.D.

4¾ in. (126 grams, 12.3 cm)

Modelled in the round, with dentilled fin and tail, hollow to the underside, scale detailing.

£400 - 600

PROVENANCE: Found Lincolshire, UK.

FOOTNOTES:

The dolphin was believed to ferry the souls of the dead to the afterlife. This type of bronze figure was probably intended to form a doorknob.

145

ROMAN LEAD ‘LEG X’ SLINGSHOT

1ST CENTURY A.D.

1 in. (29.4 grams, 30 mm)

Lentoid in form with impressed legend ‘LEGX’ and casting seam.

£400 - 600

PROVENANCE: Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.

ROMAN BRONZE WINGED EROS

1ST CENTURY A.D.

7½ in. (1.38 kg total, 19 cm wide)

Modelled in the round in kneeling pose, nude, with the fingers of his left hand spread across his bent knee, head turned to the right and slightly tilted upwards; two large dorsal wings spread; the face fleshy with small eyes and nose, the hair with a wreath of curls framing the face; attachment panel behind the shoulders; mounted on a custommade display stand.

£15,000 - 20,000

PROVENANCE:

Ex F. Philips, Netherlands, before 1980s. with Jan Roelofs Antiquaries, Netherlands. Acquired on the European art market, 2023. Private collection, London.

Accompanied by an academic report by Prof. Neritan Ceka.

FOOTNOTES:

The image of the winged Eros held a special significance in Roman culture, embodying not only the god of love but also the elegance, refinement, and sophistication of the Classical tradition. His wings symbolised the fleeting nature of passion, while his youthful form carried connotations of vitality and beauty. To incorporate Eros into the decoration of luxury objects was to invoke divine favour and to align oneself with the cultivated ideals of the Graeco-Roman world. Bronzes of the 1st century A.D. represent the height of Roman metalworking, when elite households and sanctuaries commissioned works of remarkable artistry. Fittings such as this, finely cast and intended for a prestigious vessel, were both functional and symbolic: practical elements elevated to expressions of status and taste. Surviving examples are a testament to the technical mastery of Roman workshops and the desire of their patrons to surround themselves with imagery of the gods in even the smallest details of daily life.

147

LIFE-SIZE ROMAN BRONZE HEAD OF AN EMPRESS

MID-3RD CENTURY A.D.

15 in. (4.07 kg, 40.5 cm high including stand)

A member of the Imperial family, possibly an empress, depicted with an elaborate coiffure, the hair at the back of the head parted in the middle and the two strands folded over each other, then pulled to the front to form a looped horizontal layer parted in the middle of the smooth forehead and drawn back, individual curls represented as vertical lines along the forehead hairline up to the exposed ears, two locks hanging down the sides behind the ears, extending to the upper part of the neck; beautiful facial rendering with stoic expression, exquisite detailing to the eyebrows, eyelids and pupils; snub-nose, closed lips, thin and graceful neck; mounted on a custom-made display stand.

£40,000 - 60,000

PROVENANCE:

Acquired on the German art market, early 1970s. German private family collection; by gift to the owner’s son in 2015. Private collection, London.

Accompanied by an academic report by Dr Raffele D’Amato, and Dr Marina Mattei, former curator of the Capitoline Museums for over 40 years.

FOOTNOTES: The mature age of the woman depicted in the portrait is revealed by the oval gaunt, deep-set eyes and the folds at the sides of the nose and mouth. The woman’s head shows the typical traits of the full and mature 3rd century A.D., executed in a Hellenistic style tradition. Our sculpture is well inserted in the imperial portrait type, bearing technical and aesthetical parallels to portraits in bronze. The hairstyle could be Scheitelzopf (or reverse plait), tightened by a hairnet, pinned to the top of the head. The same type of hairstyle, albeit with variations in the details (decorative curls and position of the hair loop), is found on a few other portraits of women that were dated to the Period of Gallienus by Marianne Bergmann. Some of the portraits in this typologically related group are likely to be private portraits. Hereby physiognomic features and especially imperial coin portraits need to be taken into account. In this context, it is important to compare the portrait with that of Trebonianus Gallus in the MET. Like the sculpture of Trebonianus Gallus, the head fits stylistically with Roman provincial bronzes from the Eastern Mediterranean or North Africa, possibly from workshops of Asia Minor or from the great metropolis of Alexandria, where bronze statuary was more common and Hellenistic influences remained strong.

148

MONUMENTAL ROMAN BRONZE LEFT HAND

CIRCA 2ND-3RD CENTURY A.D.

17¾ in. (4.75 kg total, 45 cm including stand)

A truly exceptional and imposing fragment, rendered with remarkable naturalism, the forefinger extended and gently bent, the thumb positioned for grip, and the remaining fingers elegantly curled inward, possibly from a monumental statue of an emperor, magistrate or a general; presented on a custom-made display stand, the thumb and forefinger sympathetically restored.

£18,000 - 24,000

PROVENANCE:

Ex Frits Phillips, Eindhoven, Netherlands, before 1980. Private European collection, 1980s. Private collection, London.

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

FOOTNOTES:

During the height of the Roman Empire, monumental bronze statues were not simply works of art; they were instruments of authority and prestige. By the 2nd and 3rd centuries A.D., Rome possessed the wealth and technical mastery to produce over life-sized figures in hollow bronze, a medium that required immense skill and resources. These statues were intended to impress and endure, often commemorating emperors, generals, and gods in a scale that placed them beyond the ordinary realm of mortals. Such bronzes were used to dominate public spaces and convey imperial power. In forums, baths, and temples, the towering images of rulers reminded citizens of Rome’s strength and the divine favour said to rest upon its leaders. The famous equestrian statue of Marcus Aurelius in Rome is perhaps the best surviving example of this tradition; its imposing scale and lifelike rendering conveyed both the emperor’s authority and his humanity. Another renowned piece, the fragments of the colossal bronze statue of Constantine the Great, once stood in the heart of the capital and would have dwarfed viewers, embodying the emperor’s near-divine status. Even earlier examples, like the Bronze of Germanicus or the over life-sized bronzes of emperors found at sites such as Herculaneum, illustrate how these works were strategically placed to broadcast messages of victory and control. Bronze was the perfect medium for such statements. Its ability to hold fine details gave these figures a vivid presence, while the sheer scale was designed to inspire awe. These statues were not simply commemorative; they were a visual language of power, cast in metal to endure beyond the individual and the age in which they were created.

BRONZE FIGURE OF A ZEBU BULL ROMAN IMPERIAL PERIOD, 2ND-3RD CENTURY A.D.

7 in. (2.3 kg total, 20 cm including stand)

Modelled in the round in alert pose with head raised and slightly turned; hair texture to the forehead, neck and shoulders; mounted on a custom-made stand.

£5,000 - 7,000

PROVENANCE: Art market, Bavaria, 1990s. with Christie’s, New York, 7 December 2011, no.188.

Accompanied by copies of the relevant Christie’s catalogue pages.

FOOTNOTES:

After the Roman annexation of Egypt, Egyptian cults such as that of the Apis bull were syncretised, becoming part of a distinctively Egyptian form of Roman polytheism. Representations of prancing Apis bulls, turned either left or right, have been found throughout the Roman Empire. However, it is also possible that this beautiful statuette is connected with the cult of Jupiter Dolichenus, where the armed god is usually standing upon a bull.

ETRUSCAN BRONZE LION HEAD

CENTRAL ITALY, LATE 6TH CENTURY B.C.

6 in. (1.11 kg total, 17.5 cm including stand)

A decorative fitting with roaring mouth and protruding fangs and tongue, the whiskers depicted in raised radiating ridges, with lidded, elongated almond-shaped eyes and small, round ears; mounted on a custom-made display stand.

£10,000 - 14,000

PROVENANCE: Donati collection, Lugano, prior to 1982. Collection of Banca della Svizzera Italiana, Lugano, prior to 1986. Formerly in the Bourgknecht collection, Switzerland.

PUBLISHED: Testimonianze d’arte Etrusca in collezioni private Ticinesi, collection of Banca della Svizzera Italiana, 1986, p.31, no.7.2, illus.

FOOTNOTES:

This head was probably, as was the parallel head of the Barberini Tomb, originally attached to a magnificent bronze cauldron. These large cauldrons of hammered bronze were realised with heads and necks of two lions and two gryphons attached to the rim. The cauldrons were spherical in form and rested on a stand.

ROMAN MARBLE GRYPHON TRAPEZOPHOROS SECTION

CIRCA 1ST-2ND CENTURY A.D.

13¾ in. (19.56 kg, 35 cm)

Carved in the round, S-curved in profile with scale detailing and grimacing gryphon’s face; ledge to rear of head to support a tabletop.

£1,000 - 1,400

PROVENANCE:

Acquired from Robert Evans, who in turn acquired from Sir Arthur Evans of the Ashmolean Museum.

From the private collection of a Somerset gentleman.

151

ROMAN MARBLE HEAD OF A WOMAN

3RD-4TH CENTURY A.D.

15 in. (8.45 kg, 39 cm high)

Carved in three-quarter view, with hair dressed in a chignon with frontal band and wavy segments; soft facial features with much detailing remaining to the proper right eye and mouth; likely a frieze fragment; mounted on an old collector’s display stand with typed label ‘Marble, woman’s head / Egypt / C.25-100 A.D. / Cat.No. 6169’.

£6,000 - 8,000

PROVENANCE:

Acquired in trade from the San Franciscanum Museum, Israel, prior to 1980. with Archaeologia, pre 1983, Switzerland and Canada.

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

FOOTNOTES:

The arrangement of the hair is characteristic of female portraits dating between the late Severan and Tetrarchic periods. The head, due to the treatment of the hair, finds comparisons with a female portrait in the Museo Nazionale Romano, depicting an elderly woman of the Antonine era, and with another female portrait in the same museum, dated to the third decade of the 3rd century A.D., reworked in the Tetrarchic period, and which showed a Severan so-called Nest Frisur hairstyle. The sculpture in question can therefore be dated between the full 3rd century A.D. and the first decades of the 4th century A.D. based on the hairstyle, the shape of eyes and eyebrows.

LATE ROMAN IMPERIAL PORPHYRY FRAGMENT

4TH-6TH CENTURY A.D.

12¼ in. (10.55 kg, 31 cm including stand)

Formed as an irregular block with three possibly later polished sides, with the other three sides presenting a descending wall and two hollows carved in the upper and lower part; probably from an Imperial sarcophagus or monument; mounted on a custom-made stand.

£1,000 - 1,400

PROVENANCE: Acquired from the private collection of a Somerset gentleman who was related to Sir Arthur Evans.

From the private collection of a UK

since before 2005.

ROMAN MARBLE FIGURE OF A PHRYGIAN DEITY ON HORSEBACK

CIRCA 2ND CENTURY A.D.

10 in. (4.3 kg, 25.5 cm)

The rider, Mithras-Sabatios, wearing a distinctive knee-length belted tunic and Persian trousers, with a riding cloak secured at each shoulder and the end folded over as a cowl; the left hand gathering the reins and the right extending a patera in offering; the horse surmounting a capital, with its remains preserved beneath the belly; mounted on a custom-made stand.

£12,000 - 17,000

PROVENANCE:

Private collection, Bavaria, since the 1980s. Anonymous Sale; Gorny & Mosch, 29 June 2011, no.234. Acquired by the present owner at the above sale.

Accompanied by a copy of the relevant Gorny & Mosch catalogue pages. Accompanied by an academic report by Dr Raffaele D’Amato.

FOOTNOTES:

The composition closely recalls a small bronze of Mithras on horseback in the J. Paul Getty Museum (Getty Villa), acc. no. 71.AB.160. The rider’s Eastern (Persian) costume suggests his identification with Mithras, the focus of a mystery religion which spread among the Roman legions from the 1st century BC onwards. The horse appears to be passing over a column, indicating that the piece likely formed part of a larger furniture mount or architectural fitting. If so, this would be an exceptionally rare representation, as equestrian images of Mithras are markedly less common than the familiar tauroctony.

155

LARGE LATE ROMAN MOSAIC WITH INLAID GLASS BIRDS

6TH CENTURY A.D.

83½ x 80¾ in. (2.12 x 2.05 m)

Rectangular panel of decorative mosaic tesserae comprising: wave pattern border in cream and graduated blue-grey tesserae with darker outer edge; inner border of graduated maroon and dark blue-grey tesserae; central field with two inner rows of four and two outer rows of five parakeets in various standing and perching poses, each formed from blue and green glass tesserae with white, crimson and other detailing to the eye, beak and chest; embedded in a sturdy steelframed matrix of traditional mid 20th century type.

£30,000 - 40,000

PROVENANCE: Acquired 1970s-1996. Private collection, Switzerland. with a North American collector. London collection, 2016.

FOOTNOTES:

The design of repeated birds against a neutral field is similar to patterns found on Late Roman and Sassanian textiles of roughly the same date, especially silk and wool textiles woven on more mechanised looms. Birds of all varieties appear frequently in floor mosaics and other arts of the Roman period; however, beribboned birds are rare.

156

ROMAN ARRETINE RED SLIP TERRA SIGILLATA CUP WITH RABBITS AND SEX.M.D. MAKER’S MARK

AUGUSTAN, EARLY 1ST CENTURY A.D.

4 in. (132 grams, 11.3 cm wide)

Squat bowl with carinated profile and low foot; to the rim, applied rosettes and hares; stamped to the centre, a sandaled foot with legend ‘SEX.M.D’ legend.

£300 - 400

PROVENANCE: Acquired from Casemate Gallery, Bath, UK, 1990. From a late private Dorset, UK, collector. Property of a West London, UK, gentleman.

Accompanied by an old identification card and original invoice dated 10 November 1990.

157

ROMAN TERRACOTTA JUG WITH HANDLE ‡

1ST-3RD CENTURY A.D.

7¼ in. (395 grams, 18.5 cm)

Globular body decorated with circumferential banding, low foot, conical neck with pinched spout, strap handle to the rear.

£600 - 700

PROVENANCE: Acquired in the mid 1980s-1990s.

Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

158

ROMAN TERRACOTTA OIL LAMP WITH EROTIC SCENE

1ST-2ND CENTURY A.D.

3 in. (51 grams, 87 mm)

Discoid in plan with short nozzle, broad shoulder with impressed rosettes, discus with scene of two lovers in a bed; underside with concentric rings.

£300 - 400

PROVENANCE: Acquired on the UK art market before 2000. Property of an Essex, UK, gentleman.

159

ROMANO-SCOTTISH LEGION XX VALERIA VICTRIX ‘INCHTUTHIL FORT’ BOXED EDUCATIONAL IRON NAIL HOARD SET CIRCA 83-87 A.D.

14 x 6¼ in. (713 grams total, 36 x 15.8 cm)

Group of five iron clout-nails permanently mounted in a wooden display case with sloping sides and sliding glazed lid; with information panel ‘Iron Nails / From / Roman Legionary Fortress / at / Inchtuthil, Perthshire, Scotland / A.D.83-87’; supplied with a printout on the subject of the Inchtuthil fortress. [No Reserve]

£300 - 400

PROVENANCE:

From excavations started by Richmond in Perthshire, Scotland, from the 1950s, and discovered in the summer of 1960.

Selected and boxed by David Colville & Sons by 1963. Property of a Norwich, Norfolk, UK, gentleman.

160

ROMAN STATUE OF THE GODDESS HYGEIA WITH LATER RESTORATIONS

2ND-3RD CENTURY A.D. AND LATER

45¾ in. (95 kg total, 115.5 cm high)

Carved in the round, standing on a rectangular base, wearing a floor-length tiered robe with exposed right shoulder and arm; separate left hand extended, holding a patera; right hand gripping the head of a snake wound around the arm; separate head with finely modelled hair bound in a chignon; repaired and restored.

£6,000 - 8,000

PROVENANCE:

Believed to have been in the collection of George Adolphus Gray (c.1850), captain of a merchant vessel and avid collector.

Acquired by the present owner circa 15 years ago, reportedly recovered from a skip.

FOOTNOTES:

Asclepius, son of Apollo and Coronis, was the Graeco-Roman god of medicine, healing and prophecy. He had two daughters with Epione, the goddess of soothing - Hygeia (goddess of health) and Panacea (goddess of healing).

161

ROMAN MOSAIC GLASS PAPERWEIGHT PAIR

2ND CENTURY B.C.-1ST CENTURY A.D. AND LATER

4 x 3 - 4¼ x 3 in. (630 grams total, 10.5 x 7.6 - 10.7 x 8.1 cm)

A collection of ancient Roman polychrome mosaic glass fragments, set in the 18th-19th century into two rectangular marble bases. [2]

£1,200 - 1,700

PROVENANCE:

Private collection, UK.

162

LARGE MOUNTED ROMAN LINEN TUNIC CIRCA 4TH-5TH CENTURY A.D.

64½ in. (7.7 kg total, mount: 1.64 m)

Comprising half of the upper part of a linen tunica manicata in light fabric, S-twist tapestry, ornamented with dark purple clavi with orbiculi and tablia, wool over linen; mounted in fabric backing and perspex display frame.

£800 - 1,000

PROVENANCE:

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

FOOTNOTES:

The tunic is decorated in purple with opus phrygium embroidery. The archaeological evidence from the dry desert cemeteries of Egypt offers striking confirmation of pictorial sources about late Roman clothing around the empire.

163

ROMAN MARBLE HEAD OF CUPID ON GEORGIAN PEDESTAL ‡

1ST -2ND CENTURY B.C. AND LATER 11 in. (6.12 kg total, 30 cm including stand)

Carved in the round as a bust of a child with short hair combed into a peak, fleshy features, lips slightly parted in a smile, fitted to an 18th century marble pedestal; mounted on a display stand with collection note ‘Buste d’Enfant / Epoque Romaine / 1er Siècle’. £20,000 - 25,000

PROVENANCE: Collection of B. Poindessault (1935-2014), France, acquired before October 1975.

Oger & Blanchet Enchères, Paris, 2014.

German private collection, Cologne. Private collection, acquired in 2015.

Accompanied by an academic report by Dr Marina Mattei.

FOOTNOTES:

The head represents a child, probably originally Eros/Cupid. The subject was reproduced several times to depict the important stages of growth and the ability of children to perform important tasks. The hair and expression recall Boethos’s famous work, the boy strangling the goose, and the images of Eros/Erotes widespread in sculpture and painting.

164

BYZANTINE BRONZE OIL LAMP

5TH-7TH CENTURY A.D.

7½ in. (693 grams, 19 cm)

Comprising: a squat body, large circular nozzle with shallow socket, hinged domed lid with regardant hare, the handle formed from his pricked ears, two long tendril handles with perching bird detailing, splayed foot; square-section socket to base for mounting on a lamp stand.

£400 - 600

PROVENANCE:

UK private collection before 2000. Acquired on the UK art market. Private collection, London, UK.

165

BYZANTINE BRONZE POLYCANDELON HANGER CHAIN WITH CROSS

5TH-7TH CENTURY A.D.

34¼ in. (372 grams, 87 cm)

Comprising a substantial link chain with a large cross composed of two rivetted plates.

£300 - 400

PROVENANCE:

Ex German art market, 2000s.

Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.

166

LARGE BYZANTINE BRONZE RELIQUARY PENDANT CROSS

10TH-12TH CENTURY A.D.

4 in. (109 grams, 12.5 cm)

Enkolpion with hinged barrel-shaped loop; incised nimbate figure to each face in orans pose within a decorative border.

£500 - 700

PROVENANCE:

Ex DRG Coins and Antiquities, Bishops Stortford, Essex, UK.

From the private collection of a West London, UK, gentleman, formed since the early 2000s.

167

LARGE BYZANTINE BRONZE RELIQUARY CROSS PENDANT

CIRCA 900-1200 A.D.

3¾ in. (49 grams, 94 mm)

Enkolpion with hinged suspension bar, each face with nimbate robed figure in orans pose with four busts surrounding.

£300 - 400

PROVENANCE:

Ex DRG Coins and Antiquities, Bishops Stortford, Essex, UK.

From the private collection of a West London, UK, gentleman, formed since the early 2000s.

168

BYZANTINE BRONZE RELIQUARY CROSS PENDANT

CIRCA 9TH CENTURY A.D.

3 in. (25.2 grams, 76 mm)

Enkolpion with hinge and large suspension loop; obverse with nimbate robed figure in orans pose with cross beneath each wrist, inscription ‘IOANIC’ (‘John’); reverse with similar nimbate robed figure in orans pose with inscription ‘MPXC’ (Mary mother of Christ).

£250 - 350

PROVENANCE:

Ex C.J. Martin, UK.

From the private collection of a West London, UK, gentleman, formed since the early 2000s.

169

BYZANTINE GOLD RING WITH HEAD OF CHRIST GEMSTONE

CIRCA 6TH-8TH CENTURY A.D.

1 in. (10.36 grams, 25.80 mm overall, 20.26 mm internal diameter (approximate size British S, USA 9, Europe 19, Japan 18).)

Round-section hoop with granules to the shoulders, discoid bezel with inset lapis lazuli circle enclosing a later amethyst gemstone with facing bust of Christ Pantocrator.

£4,500 - 6,500

PROVENANCE:

Ex collection of a London lady, 1980s.

170

BYZANTINE TURRETED GOLD RING WITH ARCHITECTURAL JASPER GEMSTONE

CIRCA 6TH-8TH CENTURY A.D.

1¼ in. (6.43 grams, 28.80 mm overall, 17.80 mm internal diameter (approximate size British O, USA 7½, Europe 17.5, Japan 14).)

Comprising a flat-section body composed of intersecting rings and pellets, turreted bezel with carinated body set with a polished jasper cabochon, incuse image of a tower with flanking palm trees.

£2,500 - 3,500

PROVENANCE:

Ex K collection, London, 1990s.

171

LARGE BYZANTINE GOLD RINGOF MARY AND EUTROPIUS

6TH-9TH CENTURY A.D.

1¼ in. (23.66 grams, 31.00 mm overall, 19.87 mm internal diameter (approximate size British R½, USA 8¾, Europe 19.38, Japan 18))

Comprising a D-section hoop with flat sides bearing wave-pattern ornament and legend ‘MAPIAC / EYTPO IOY’ (belonging to Mary and Eutropius); tiered bezel with incised key-pattern and undulating line to the edges; shoulders with palmette motif; discoid plaque with incuse wreath surrounding a bird with star above and lizard; with platinum inclusions.

£5,000 - 7,000

PROVENANCE: Private English collection, formed between the late 1970s and early 1990s. Private collection, UK.

172

BYZANTINE GOLD MARRIAGE RING

6TH-7TH CENTURY A.D.

¾ in. (3.76 grams, 20.90 mm overall, 18.29 mm internal diameter (approximate size British P, USA 7½, Europe 16.23, Japan 15))

Comprising a slender round-section hoop with an applied discoid bezel, two facing busts flanking a cross and an inscription below. [No Reserve]

£800 - 1,000

PROVENANCE:

From a UK collection since before 1990.

173

BYZANTINE CERAMIC PILGRIM’S FLASK WITH CHRIST AND DONKEY

CIRCA 6TH-8TH CENTURY A.D.

2¾ in. (30.3 grams, 71 mm)

Lentoid in section and teardrop-shaped in profile with flared mouth and pierced shoulders, low-relief image of a nimbate man riding a donkey to each face.

£250 - 350

PROVENANCE:

Ex Mayfair, London, UK, gallery, 2000s.

174

BYZANTINE CERAMIC PILGRIM’S FLASK WITH ST MENAS AND INSCRIPTION

CIRCA 6TH-8TH CENTURY A.D.

3½ in. (101 grams, 89 mm)

Hollow body discoid in profile and lentoid in section with thick loop handles to the shoulders, low-relief scene of a nimbate man between beasts to obverse, Greek text to reverse ‘A / MHNA/EY O[ ]A’ (the blessing of Saint Menas).

£300 - 400

PROVENANCE:

Ex Mayfair, London, UK, gallery, 2000s.

175

CHRISTIAN ‘JACOBS LADDER’ TERRACOTTA PILGRIM’S TOKEN

CIRCA 6TH-8TH CENTURY A.D.

1¼ in. (13.4 grams, 33 mm)

Plano-convex in section with impressed design of a nimbate figure standing beside a ladder with a levitating winged angel at the side, all within a pelletted border.

£200 - 300

PROVENANCE:

Ex important Christian collection, 1970s.

176

CHRISTIAN ‘ANGEL OF THE SEPULCHRE’ TERRACOTTA PILGRIM’S TOKEN

CIRCA 6TH-8TH CENTURY A.D.

1 in. (6.93 grams, 26 mm)

Plano-convex in section with impressed design of a nimbate figure kneeling before a container surmounted by a cross and crescent moon, all within a pelletted border.

£200 - 300

PROVENANCE:

Ex important Christian collection, 1970s.

177

CHRISTIAN ‘FIRST PASSION, ENTRY INTO JERUSALEM’ TERRACOTTA PILGRIM’S TOKEN

CIRCA 6TH-8TH CENTURY A.D.

1 in. (6.09 grams, 25 mm)

Plano-convex in section with impressed design of a nimbate figure riding a donkey led by a facing robed figure, cross to the rear, all within a pelletted border.

£200 - 300

PROVENANCE:

Ex important Christian collection, 1970s.

BYZANTINE NEPHRITE ICON FRAGMENT WITH CHRIST BLESSING

11TH CENTURY A.D.

1½ in. (38 grams, 40 mm)

Fragment of a figure carved in the half-round, with pleated garment, holding a book with a cross in the left hand and touching its edge with the right hand; to the reverse, a low-relief cross with knops to the angles, abbreviated legends ‘IC / XC / NI / KA’ for ‘Jesus Christ is Victorious’ in seriffed capitals in the spandrels of the cross, each with a superscript macron.

£12,000 - 17,000

PROVENANCE:

New Forest, UK, collection, 1950s. Alexander Cotton collection, UK, 1970-1980s. London gallery 1990s, latterly a London gentleman’s collection, 2000s. Accompanied by an academic report by Dr Raffaele D’Amato.

FOOTNOTES:

This magnificent, if fragmentary, icon belongs to the most florid period of Byzantium’s renaissance, when, under the aegis of the Macedonian Dynasty, the political, military, cultural and economic power of the Roman Empire reached the last apex of its glory. The figure detailed in bloodstone here represents Christ, as is clear not only from the cross engraved on the back, but also from the garments he is wearing. It is likely that it is Christ as Pantocrator who is represented, maybe originally forming part of a more complex icon representing the Deesis. While this subject in Eastern Roman art is usually reserved for monumental decoration, it is sometimes found on smaller-scale objects as well, such as cameos and steatite icons.

179

AKKADIAN GREEN JASPER CYLINDER SEAL WITH CONTEST SCENE FOR IGIBARMU

CIRCA 2300-2200 B.C.

1 in. (10.3 grams, 26 mm)

Showing two pairs of contestants; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Green Stone 26 x 14 mm. The design shows two pairs of contestants symmetrically arranged. The one pair consists of a Lahmu hero, nude save for belt and with curls each side of the face, grappling with a rearing buffalo. The other pair consists of a bull-man fighting a rearing lion. There is a three-sign cuneiform inscription in Sumerian naming the ancient owner: Igibarmu. This is an Akkadian seal, from Mesopotamia or west Iran, dating to c. 2300-2200 B.C. The design is clear though the stone is somewhat worn. The sight of heroes grappling with fierce and big animals reflects the military ethos if the Akkadian kingdom. The lack of weapons distresses physical power.’

£800 - 1,000

PROVENANCE:

From the private collection of a North American lady, formed 1970s-early 1990s, with collection reference no.298.

Accompanied by a copy of a typed scholarly note by Professor Wilfrid George Lambert and an old photograph.

180

JEMDET NASR WHITE MARBLE CYLINDER SEAL WITH TEMPLE

3000-2800 B.C.

1 in. (98.8 grams, 41 mm)

Showing a decorated temple with animals, accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder Seal of White Marble, 41 x 35 mm. The engraving shows a decorated temple facade and beside it four horned animals, a standard on a pole and a motif of four dots. This is a Jemdet Nasr seal, c. 3000-2800 B.C., from southern Mesopotamia, and is in very good state of preservation. It illustrates the Sumerian city state of the time. the temple was the largest building, and it owned flocks and herds, being a big economic organization as well as a religious institution. For the climate and terrain sheep and goats were the normal domestic animals, and ordinary people might own these. The larger domestic animals, which included cattle and other horned animals such as gazelles which eventually proved unsuccessful as domestic animals, were owned only by the temple. Seals of this size and quality are rare.’ [No Reserve]

£700 - 900

PROVENANCE: with Armand Trampitsch, Glyptique Archéologie, Paris, Hôtel Drouot, Sale No.2, 13-14 May 1992, no.216.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1992.

181

JEMDET NASR CYLINDER SEAL WITH HORNED QUADRUPEDS

CIRCA 3000 B.C.

1 in. (63.5 grams, 36 mm)

With three horned quadrupeds; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Alabaster, 27 x 16 mm. The design consists of three prancing horned quadrupeds. All are cut largely with the drill, save for some hand work on the bodies, necks, heads and tails. Above each animal’s back is a device, apparently a symbol. [...] The animals were from temple herds, and the prized possessions of the communities, since sheep and goats were the normal domestic animals of the time.’ [No Reserve]

£800 - 1,000

PROVENANCE:

with Bonhams, Fine Antiquities 20th May, 1992, no.68.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1992.

182

THIRD DYNASTY OF UR BROWN STONE CYLINDER SEAL WITH WORSHIP SCENE

CIRCA 2060-2000 B.C.

1 in. (7.6 grams, 25 mm)

Showing two goddesses and a worshipper; accompanied by a museum quality impression and a copy of an old scholarly note by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder seal of brown stone, 26 x 13 mm. Seated goddess to right, raising a hand, before her a minor goddess introducing a worshipper, both raising a hand. Crescent in sky. Third Dynasty of Ur, c. 2060-2000 B.C. Good engraving, very good condition.’

£600 - 800

PROVENANCE:

From the private collection of a North American lady, formed 1970s-early 1990s, with collection reference no.192.

Accompanied by a copy of a scholarly note, handwritten and signed by Professor Wilfrid George Lambert and an old photograph.

183

OLD BABYLONIAN CYLINDER

SEAL WITH TWO STANDING FIGURES ‡

2ND MILLENNIUM B.C. 1 in. (8.96 grams, 27 mm)

Representing a god in short mantle and round cap with upturned brim, holding a mace in his left hand, before him a goddess standing in a horned crown and kaunakes, her hands raised in supplication; accompanied by a museum-quality impression.

£1,500 - 2,000

PROVENANCE:

Ex Mr J.K. collection, USA. Acquired from the above, 1997.

FOOTNOTES:

The seals of the First Isin Dynasty were much more varied than those just preceding the Third Dynasty of Ur. Often the chief god - probably Shamash - is standing, and the ‘introducing’ goddess is facing him, while the worshipper is not pictured. The seals are a mine for the understanding of the old Babylonian costume. The tunic of the female goddess here is made of tufted material that the Greeks called kaunakes, the weave of which imitated the effect of the earlier sheepskin costumes.

184

SYRIAN OR ANATOLIAN BLACK STONE CYLINDER SEAL WITH HUMAN FIGURES

CIRCA 2500 B.C. 1 in. (38.78 grams, 41 mm)

Divided into two registers and showing human figures and animals on the lower register; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Black Stone, 41.5 x 21.5 mm. The engraved surface is divided into two registers by a band consisting of two lines separated by a row of alternately inverted triangles. The upper register shows two human figures sideways. The one, apparently male, hold one hand high while extending the other at the waist. The other, apparently female, holds an oblong object above her head in both hands. The lower register shows two confronting quadrupeds: the one with horns has lowered its head, the other with raised head may be intended as a boar to judge from the markings on its back. Also in the lower register there is a bird têtebêche to the two animals, and something placed between its head and wing-tip. This is an unusual and impressive seal, from Syria or Anatolia c. 2500 B.C. It is in fine state of preservation. [No Reserve] £700 - 900

PROVENANCE:

UK private collection, acquired 1990-1993.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1992.

185

AKKADIAN GREEN JASPER CYLINDER SEAL WITH PRESENTATION SCENE

CIRCA 2300-2200 B.C.

¾ in. (3.96 grams, 19 mm)

Showing two goddesses with two other figures; accompanied by a museum quality impression and a copy of an old scholarly note by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder seal of green jasper 19 x 11 mm. Presentation scene: seated goddess to right, before her one goddess, a woman holding a bucket and a man holding a kid are standing. Akkadian, c. 2300-2200 B.C., fine engraving in very good condition.’

£600 - 800

PROVENANCE:

From the private collection of a North American lady, formed 1970s-early 1990s, with collection reference no.P108.

Accompanied by a copy of a scholarly note, handwritten and signed by Professor Wilfrid George Lambert and an old photograph.

186

OLD BABYLONIAN CYLINDER SEAL WITH GOD HOLDING MACE

1900-1600 B.C.

1 in. (18.45 grams, 29 mm)

Depicting two sets of figures; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of

Birmingham, 1970-1993, which states: ‘Cylinder Seal of Hematite, 29.5 x 15 mm. The engraving consists of two separate sets of figures, the first consisting of two standing facing figures. on the right is a Lamma, wearing a horned tiara and long flounced robe. She raises both hands in greeting to the figure on the left. he is the god with mace, wearing a hat with broad brim and garments which reach only to the knees. In his right hand he holds a sceptre at the waist. In the sky between the two figures is the lunar crescent, and between them near the ground is a shepherd’s crook. This pair of figures, like the whole, is Old Babylonian, and dates c. 1900-1700 B.C. The remainder of the engraving was added later, but not after 1600 B.C. There is one isolated figure, standing, but with his head not reaching the top of the seal. He appears to be nude and holds a spouting jar in both hands at his waist, from which two streams of water flow. By his head is the ‘mongoose’ (or monkey), and the spade symbol fills the space opposite the ‘mongoose’. The rest of the area is divided vertically by a line, and each half contains a pair of contestants, put tête bêche to each other. The upper pair are a grappling human-like figure and bull man, the lower pair are a human-like figure grappling with a winged monster. Not enough is known to be sure whether this seal comes from southern or northern Mesopotamia, but it is of considerable interest for the two separate groups of figures engraved by different craftsmen. There is some surface wear, but the whole of the design is well preserved.’ [No Reserve] £600 - 800

PROVENANCE: UK private collection, acquired 1990-1993.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1990.

187

SUMERIAN CREAM STONE CYLINDER SEAL WITH CONTEST SCENE

CIRCA 2500 B.C.

1 in. (8.83 grams, 28 mm)

Divided into two registers, both showing a contest scene with a horned hero grappling with horned beasts; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Cream Stone, 28.5 x 12 mm. The engraved sides of this seal are divided into two registers by a single horizontal line. In both registers there is a contest scene. In the upper a standing hero with double belt around his waist succours a bovine on the right and an upended gpat on the left, both of which are being attacked by a lion. The body of the lion on the right crosses the body of a second bovine. In the lower register a standing nude hero succours two differentiated bovines, one of each side, which are being attacked each by a lion, but in this case each lion’s body crosses that of a third and fourth bovine. This is a seal in the Sumerian tradition, c. 2500 B.C., from the Third Phrase [sic] of the Early Dynastic periods, and may come from Sumer itself, north Mesopotamia or south-east Iran. It is in good state of preservation and a nice example of its kind.’ [No Reserve] £600 - 800

PROVENANCE:

UK private collection, acquired 1990-1993.

188

NORTH-SYRIAN GREEN STONE CYLINDER SEAL WITH STANDING HUMAN-LIKE FIGURES

CIRCA 2800-2400 B.C.

2 in. (47 grams, 55 mm)

With two standing figures; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states:Cylinder Seal of Dark Green Stone 55 x 22 mm. The engraved are divides into two main parts. In the major part two standing human-like figures are shown with one hand joining that of the other figure and the other held at the waist as if ready for action. Between them is a small similar figure with arms outstretched. Above are two concentric circles, and sundry shapes and linear motifs fill spaces. The minor part shows two pairs of horned animals tête bêche to eath(sic) other pair. The bottom two, with rising horns, face each other; the top two (one a stag, the other with different horns) are in a line. A snake and various shapes fill the spaces. Upper and lower rules enclose the design. This is a North-Syrian or Anatolian seal, c. 2800-2400 B.C. It is exceptionally large, in very good condition, and outstanding in every way.’ [No Reserve]

£800 - 1,000

PROVENANCE: with Sotheby’s Antiquities, London, 10-11 December 1992, no.74.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1992.

189

NEO-ASSYRIAN GREY STONE CYLINDER SEAL WITH KNEELING GOD

CIRCA 900-800 B.C.

1½ in. (8.7 grams, 39 mm)

With a god shooting a sphinx; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Grey Stone, 39 x 12. Top and bottom borders are filled with rows of chevrons going in opposite directions, and the design between a kneeling god shooting at a facing sphynx with a bird’s head. As filling motifs there are: a small tree or plant, a lozenge, a triangle and a crescent. At each end the stone is stained by remains of original bronze caps, and the bronze bar which ran through the central hole is still present, though the rest of the metal, save for traces, has disappeared. This is a NeoAssyrian cylinder, c. 900-800 B.C., from Assyria itself, or from neighbouring areas.’

£700 - 900

PROVENANCE:

From the private collection of a North American lady, formed 1970s-early 1990s, with collection reference no.P16.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert dated February 1992 and an old photograph.

190

WESTERN ASIATIC STONE CYLINDER SEAL WITH PRESENTATION

SCENE

2ND-1ST MILLENNIUM B.C. in. (12.53 grams, 23 mm)

With incuse frieze depicting a presentation scene, two profile figures in flounced robes flanking two standing figures in floor-length garments, one with leg bent and foot resting on a stool, receiving a gift of a small animal from his neighbour; fifth figure to the rear; supplied with a museum-quality impression.

£400 - 600

PROVENANCE:

From the ‘S’ collection, acquired 1970-1990s.

The collection was seen and studied by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993.

191 MIDDLE ELAMITE GLAZED FAIENCE CYLINDER SEAL WITH FEASTING SCENE

CIRCA 1300-1200 B.C. 1 in. (10.67 grams, 47 mm)

The scene divided into two registers with the main one with a seated figure and an attendant; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Glazed Faience, 48 x 14 mm. The main scene consists of a seated figure, wearing a long robe, with hair done up in a bun at the back of the head, and drinking from a situla. Facing him is a standing attendant holding up a fan in both hands. Between them is a tablet with a leg of meat on it, also an unidentified object, a star and a lozenge-shape above the table. As a terminal there is a recumbent winged sphynx below a horned animal, also recumbent but with hear turned back. A top register contains: a winged sphynx, a monkey, a lozenge, a horned animal with head turned back and a tree as termina. This is a Middle Elamite cylinder, c. 1300-1200 B.C. such as have been found at Susa and Choga Zanbil. Only rarely are they seen on the market. One side of this one is better preserved than the other, and some of the original turquoise glaze still survives.’

£700 - 900

PROVENANCE:

From the private collection of a North American lady, formed 1970s-early 1990s, with collection reference no.4656.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert dated March 1992 and an old photograph.

192

SYRIAN HAEMATITE CYLINDER SEAL WITH ROSETTES

CIRCA 1900-1600 B.C. in. (9.03 grams, 22 mm)

With rosettes arranged in rows; the design consists of rosettes, each composed of one central hole surrounded by six other holes, rosettes are arranged in alternate rows of four and five: four rows of four and four rows of five in total; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Hematite, 22.5 x 11.5 mm. The condition is very good.’

£2,000 - 3,000

PROVENANCE:

From the private collection of a North American lady, formed 1970s-early 1990s, with collection reference no.P44.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert dated August 1990 and an old photograph.

193

AKKADIAN BLACK STONE CYLINDER SEAL WITH COMBAT SCENE

CIRCA 2300-2200 B.C.

1 in. (12 grams, 27 mm)

Showing a combat of gods; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Black Stone

27 x 16 mm. The design shows a combat of gods: all three wear horns on their heads as a mark of divinity. To each side of the scene is a god in long robe from waist to feet, open at the front with one leg projecting. They stand grappling with a god on one knee between them. He wears a robe of similar length, but not open at the front. Diagonal lines rise from the robes of the two attacking gods, probably marking them as fire gods. A stylised tree serves as a terminal. This is an Akkadian seal, c. 2500-2200 B.C. It is one of the rarer designs to see gods, and such fighting gods are not seen in other periods. But we have no written form of the myth to explain exactly what is happening. the seal is in very good condition and has an interesting design.’

£800 - 1,000

PROVENANCE:

From the private collection of a North American lady, formed 1970s-early 1990s, with collection reference no.589/3.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert and an old photograph.

194

CAPPADOCIAN STONE CYLINDER SEAL WITH COURT SCENE ‡ CIRCA 2000-1900 B.C.

1 in. (21.9 grams, 40 mm)

Frieze including two standing attendants in flounced floor-length robes before a laden table and a seated figure in similar robes, the seated figure drinking from a vessel through a drinking pipe, behind him a stag with a small animal between its legs, a border of pellets above and below.

£1,200 - 1,700

PROVENANCE: Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

195

LARGE WESTERN ASIATIC STONE CYLINDER SEAL WITH ANIMALS

2ND-1ST MILLENNIUM B.C.

1¾ in. (52.5 grams, 44 mm)

Densely carved scene with two types of rearing horned animals in combat, depicted with long tails and with fur detailing on the bodies, pellets and other motifs on the field; accompanied by a museum quality impression.

£400 - 600

PROVENANCE:

From the collection of a gentleman, acquired on the London art market in the 1990s.

196

AKKADIAN GREEN JASPER CYLINDER SEAL WITH SEATED FIGURES

CIRCA 2300-2200 B.C.

in. (6.31 grams, 23 mm)

Showing a divine drinking scene; accompanied by a museum quality impression and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Green Jasper, 23 x 13 mm. Two seated figures face each other. On the right is a male, wearing a flat cap on his head, and a long robe to the feet with a deep fringe at the bottom. He is holding up a flat cup. The figure on the left is female, bare-headed, but wearing a similar long garment with fringe at the bottom, alos a fringe where the fabric overlaps from the waist down. Both figures hold up the same type of cup. Between them stands a servant, in a similar long robe and with bare head, holding a mace at the waist. In the sky there is a star and lunar crescent. A tall slender tree serves as a terminal. This is a Akkadian seal, c. 2300-2200 B.C., from Mesopotamia or a neighbouring region. In view of the flat cap on the male the figures are no doubt divine, and this is then a divine drinking scene. This seal is in excellent state of preservation.’

£800 - 1,000

PROVENANCE:

From the private collection of a North American lady, formed 1970s-early 1990s, with collection reference no.P18.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in August 1992 and an old photograph.

197

MITANNI FAIENCE CYLINDER SEAL WITH WORSHIP SCENES

CIRCA 1500-1200 B.C.

1 in. (11.3 grams, 42 mm)

Accompanied by a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Faience with Green Glaze 43 x 17 mm. The design, which is contained within a line above and another beneath, consists of two scenes of worship. The one shows a stylized sacred tree with a central trunk and five branches each side, all ending in buds, then a pendant hanging from each lowest branch on either side. On left and right and facing the tree are worshippers, both with hands raised. The other scene has two similar worshipers, facing each other with hands raised. Between them the area is divided in the middle by a guilloche. Above it is a stag falling onto its neck, below it is another kind of horned animal, but recumbent and turning its head. This seal is Mitanni, c. 1500-1200 B.C and from anywhere in the area between Syria and Western Kurdistan. It is a product of the Hurrian civilization and the stylized tree is a symbol of the Storm God, Hurrian Teshub, Babylonian Adad, Hebrew Hadad or Baal. The horned animals occur commonly on Mitanni seals, and this seal proves that they are symbolic of some god, but it is not known which one. The guilloche is a standard decorative filler of the period. Faience is a manufactures substance, comparable with the modern porcelain. In the ground it often deteriorates over the centuries and has a powdery surface. This one, however, is in good condition, the only mark of its age being that the glaze has lost something of its original colour, which was turquoise This is an unusually large seal and important since seals of this size

and quality are extremely rare.’; supplied with a museum-quality impression.

£300 - 400

PROVENANCE:

From the private collection of a North American lady, formed 1970s-early 1990s, with collection reference no.P31.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert dated September 1990.

198

MESOPOTAMIAN BANDED AGATE CYLINDER SEAL

1ST MILLENNIUM B.C. in. (2.35 grams, 22.5 mm)

With incuse rearing ibex and altar; supplied with a museum-quality impression.

£400 - 600

PROVENANCE:

From the ‘S’ collection, acquired 1970-1990s. The collection was seen and studied by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993.

199

URARTU BLACK STONE STAMP-CYLINDER SEAL WITH WINGED QUADRUPED

CIRCA 900-700 B.C.

1¼ in. (7.88 grams, 30 mm)

With two winged monsters, accompanied by museum quality impressions and a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Description of Stamp-Cylinder Seal of black stone, 31 x 14 mm. Sides: two winged monsters of slightly differing type; lunar crescent and other fillers, the design between rules. Base: winged quadruped. The stamp-cylinder is from the ancient Urartu, the area around lake Van, and dates c. 900-700 B.C. It has a pierced lug at the top which allows the base to be used as a stamp seal. Such monsters as are depicted are typical of Urartian art, not only of their seals. Condition very good.’ [No Reserve] £400 - 600

PROVENANCE:

UK private collection, acquired 1990-1993.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1987.

200

ANATOLIAN BRONZE CYLINDER SEAL SURMOUNTED BY HORNED ANIMAL

LATE 3RD MILLENNIUM B.C.

1 in. (25.7 grams, 41 mm)

Cylindrical body topped with a standing quadruped, likely a mouflon, accompanied by a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Cylinder Seal of Bronze, surmounted by a Horned Animal Maximum height 42mm., Diameter of seal: 15mm. The animal has big, back-curving horns, and was probably meant as a mouflon sheep. It is decorative, makes an imposing piece of a simple seal shape. The design of the seal is a wavey line creating triangular spaces, which are filed with triangles of a smaller size or arrow-heads. In one case the latter and a v-shaped extra wavey line are used. The date of these ornamented seals has been disputed. Some scholars have put them in the third millennium B.C., some in the first millennium. The seal design is well known for the latter half of the third millennium and the beginning of the second millennium B.C., and the animal gives the impression of being related to such creatures in bronze from third millennium Anatolia. Thus this is a late-third-millennium seal, and is to be placed somewhere in the area from Anatolia to Kurdistan. Its condition is fine, and the metal sculpture is well done.’ [No Reserve]

£500 - 700

PROVENANCE:

UK private collection, acquired 1990-1993.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1990.

201

ASSYRIAN GREEN SERPENTINE AMULET WITH WORSHIPPERS

CIRCA 900-600 B.C.

1¼ in. (11.9 grams, 31 mm)

Bifacial amulet with chevron borders and worshippers, accompanied by a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Amulet of Green Serpentine, 31mm. high. There is a band of chevrons at both top and bottom of this amulet, going in opposite directions. Between them on the one side is a standing worshipper holding up a cup in one hand and a bow in the other, in front of him an altar. On the other side is a sacred tree under a winged solar disc, and to the other side of the tree is a minute worshipper with hands extended. [...] from any part of the [...].’ [No Reserve]

£500 - 700

PROVENANCE: with Bonhams, Fine Antiquities, 20th May, 1992, no.76.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1990.

202

WESTERN ASIATIC BLACK STONE MOULD FOR FEMALE FIGURE

2000-1700 B.C.

1½ in. (23.43 grams, 38 mm)

Tongue-shaped mould fragment with a recessed female figure on the upper face, accompanied by a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Upper Portion of Mould in Black Stone, 39 x 29 x 10 mm. This mould served to make metal figurines of a nude female figure. It is preserved from the thighs up, and is in very good state of preservation. The figure is worked in much detail: the hair is carefully arranged on the head, she has large earrings, five strings of beads around the neck; she holds her hands under her breasts, and the pubic hair is carefully marked. The fine quality, detailed work of this piece is most unusual. It dates to c. 1200 - 1700 B.C and comes from Iraq or an adjacent area.’ [No Reserve] £500 - 700

PROVENANCE: UK private collection, acquired 1990-1993.

Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1991.

203

MONUMENTAL WESTERN ASIATIC POTTERY JAR

CIRCA 3000 B.C.

25¼ in. (17 kg, 64 cm high)

Comprising a sharply tapering lower body, parallel-sided upper body and rounded rim; decorated in dark brown with thirteen square panels with central saltire on a hatched field; repaired.

£2,000 - 3,000

PROVENANCE: with Mahboubian Gallery, London, UK, 1974. Private collection, London, UK.

204

LARGE WESTERN ASIATIC POTTERY JAR

CIRCA 3000 B.C.

13 in. (5 kg, 33.5 cm)

Comprising a broad body with slightly flared rim and rounded body tapering to a narrow base; painted multilinear band below the rim with scoops above; repaired.

£600 - 800

PROVENANCE: with Mahboubian Gallery, London, UK, 1974. Private collection, London, UK.

205

VERY LARGE SUMERIAN TERRACOTTA CUNEIFORM TABLET

RECORDING COMMODITIES FOR VARIOUS NAMED INDIVIDUALS

3RD MILLENNIUM B.C.

6¾ in. (931 grams, 17.2 cm)

Rectangular in plan with rounded edges, obverse with incised grid and dense cuneiform text across about half the available surface; one corner chipped. [No Reserve]

£800 - 1,000

PROVENANCE: with Archaeologia, Switzerland, before 1983. Ex private North American collection. London private collection, 2016.

206

BABYLONIAN HEAD OF HUMBABA

900-700 B.C.

4½ in. (128 grams total, 11.5 cm including stand)

Modelled in the half-round with hollow reverse; thick band of hair above the brow, small deep-set eyes, broad nose and mouth with three raised bands extending to a short beard; mounted on a custommade stand.

£3,000 - 4,000

PROVENANCE: London art market, 1995. Private collection, Switzerland. Private collection, London.

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

207

SUMERIAN BONE FACE MASK

CIRCA 3000 B.C.

2¼ in. (50 grams, 59 mm)

D-shaped in plan and plano-convex in section with large ellipsoid voids for the eyes, high-relief facial features.

£1,000 - 1,400

PROVENANCE: Acquired between 1981-1996. Property of a North American collector.

205

208

BACTRIAN BLACK CHLORITE ‘HAND BAG’ CEREMONIAL WEIGHT

3RD MILLENNIUM B.C.

7¼ in. (8 in.) (2.95 kg total,18.5 cm (22.5 cm including stand))

D-shaped in profile with void below the curved edge, obverse with reserved serpent and lion opposed, the lion’s claw grasping the serpent; reverse with spread eagle flanked by rearing serpents; all bodies with sockets to accept coloured inserts; mounted on a custommade stand.

£8,000 - 10,000

PROVENANCE: with Gallery Rosen Ancient Art, Tel Aviv, 1960s. Ex London, UK, gallery, 1971-early 2000s. London, UK, collection.

FOOTNOTES:

The object could have been carried or swung in ceremonies or processions. On one side is a bird of prey, with its claws surrounded by the writhing bodies of two serpents, whose heads flank the bird’s head. This symmetrical scheme probably renders a version of the enmity of eagle and serpent, which must have been an important theme of ancient Iranian art; the motif was later diffused throughout the world.

LARGE BACTRIAN BLACK CHLORITE VESSEL WITH OPPOSING PAIRS OF SERPENTS

3RD MILLENNIUM B.C.

7 in. (2 kg, 18 cm wide)

Drum-shaped vessel with reserved frieze to the outer face: pairs of opposed snakes with bodies entwined; shallow socket to each of the eyes to accept an inlay panel.

£10,000 - 14,000

PROVENANCE: with Gallery Rosen Ancient Art, Tel Aviv, 1960s. Ex London, UK, gallery, 1971-early 2000s. London, UK, collection.

FOOTNOTES: The chlorite stone vessels of early Bactria were kidney-shaped vessels with simple geometric decoration or cylindrical like our specimen. Small cylindrical vases were used as cosmetic containers, together with chlorite cosmetic flasks.

210

ACHAEMENID SILVER JAR WITH LOTUS FLOWER

CIRCA 500 B.C.

3 in. (117 grams, 78 mm)

Squat in profile with basal disc, raised panel to the shoulder with lotus flower detailing, low neck and everted rim.

£800 - 1,000

PROVENANCE:

London art market, 1980s-2000s. Private collection, London, UK.

211

ACHAEMENID SILVER ALABASTRON WITH DUCK HANDLES

CIRCA 500 B.C.

5¼ in. (95 grams, 13.2 cm)

With a bag-shaped tubular body and rounded base; applied loop handles to the shoulders, each formed as a duck’s head.

£800 - 1,000

PROVENANCE: London art market, 1980s-2000s. Private collection, London, UK.

ELAMITE BRONZE RITUAL STAND OF A KNEELING FEMALE

3RD-2ND MILLENNIUM B.C.

8 in. (9½ in.) (1.85 kg, 20.5 cm (2 kg total, 24 cm including stand))

Comprising a round-section circular supporting ring mounted on three curved arms emerging from the head of a nude female figure in kneeling pose, arms raised and bent, base of a chalice in the left hand, a triangular inlay insert on the pubic area, braided hair resting on her spine; knees resting on the rim of a basal ring; mounted on a custom-made stand.

£30,000 - 40,000

PROVENANCE:

Acquired in London, 1973. with Rabi Gallery, London, 1986. Private collection, London. Acquired from the above 2021.

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

FOOTNOTES:

This finely modelled statuette belongs to a rare and intriguing group of ancient objects depicting human or animal figures, either individually or in small ensembles, serving as stands or supports. A closely comparable example in the George Ortiz Collection shows a standing male figure on a quadrangular base, clad in a short skirt with a broad belt akin to the present piece, holding at arm’s length a columnar element surmounted by four curved branches and a ring. That work has been attributed to a southern Iranian or Mesopotamian workshop and dated to the late 3rd millennium B.C. Another fragmentary example in the Ortiz Collection, possibly of similar function, portrays three kneeling worshippers on an annular base before what appears to be a stylised “tree of life” . Their posture, with hands clasped and thumbs crossed, recalls that of the present figure, as do their elongated bodies, though rendered more schematically. That group is generally dated to the early 3rd millennium B.C. Objects of this type are thought to have served a ritual or votive purpose, perhaps originally placed within a sanctuary or temple. The upper support may have held a vessel for offerings, a lamp, or incense, reflecting an act of perpetual devotion within a sacred setting.

FIGURE

213

URARTU DECORATED BRONZE CHALICE

EARLY 1ST MILLENNIUM B.C.

5¾ in. (255 grams, 14.6 cm wide)

With pedestal foot and rib above, bowl with repoussé collar to the equator, guilloche below; mouth with hatched vandykes at the shoulder.

£700 - 900

PROVENANCE:

Ex property of a London, UK, gentleman, Mayfair gallery, 1990s.

214

MONUMENTAL LURISTAN BRONZE ARMBAND PAIR WITH DRAGON HEADS

LATE 1ST MILLENNIUM B.C.

5 in. (1.19 kg total, 13-13.1 cm)

A matching pair of penannular armbands, each with a round-section body and dragon-head terminals, one terminal on each band separately made; the dragons with ring-and-dot eyes and linear decoration, slit mouths and flaring nostrils. [2]

£500 - 700

PROVENANCE:

Ex London, UK gallery, 1971-early 2000s.

Private collection, London.

FOOTNOTES:

Bronze armbands of this scale and quality are characteristic of Luristan, an important centre of metal production in western Iran during the early 1st millennium B.C. The region is renowned for its distinctive cast bronzes, including weapons, horse trappings, and items of personal adornment, often decorated with powerful animal imagery. The dragon, with its elongated body and open jaws, was a common motif in Luristan art, symbolising strength, protection, and the supernatural. Armbands with dragon-head terminals likely carried an apotropaic function, serving both as impressive ornaments and as protective charms for the wearer. Monumental examples such as this pair are rare survivals, attesting to the high status of their original owner and the extraordinary skill of Luristan bronze workers.

215

WESTERN ASIATIC BRONZE CAGE WEIGHT

2ND-1ST MILLENNIUM B.C.

3 in. (198 grams, 74 mm)

Comprising a rectangular basket with two overlapping U-shaped handles, two bull heads resting on the edge of the basket.

£600 - 800

PROVENANCE:

From the collection of a gentleman, acquired on the London art market in the 1990s.

216

BACTRIAN BRONZE ZEBU STATUETTE

2ND-1ST CENTURY B.C.

3 in. (138 grams, 80 mm)

Modelled in the round and hollow to the underside with loop behind the hump.

£300 - 400

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

217

LARGE LURISTAN BRONZE ‘MASTER OF ANIMALS’ BRONZE FINIAL

8TH-7TH CENTURY B.C.

17 in. (916 grams total, 43 cm including stand)

Formed as a Master of Animals atop a collared tubular stem with flared foot; the finial composed of two goats with heads returned and a looped band at the rump, above these two birds standing looking up towards two quadrupeds each with a bird’s head on the rump; each in the grip of the Master standing crowned between them; the Master with tubular body, animal-like ears, prominent nose above a small mouth and wearing collars, neck rings and tiered headdress with addorsed bovine heads; waisted socket below and flared dentilled rim; mounted on a display stand.

£2,000 - 3,000

PROVENANCE:

Acquired in Iran, 1967. Private collection, UK.

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

218

LARGE WESTERN ASIATIC BRONZE FIGURE OF A BULL ‡ CIRCA 10TH CENTURY B.C.

7½ in. (1.32 kg, 19.2 cm)

A heavy example modelled in the round with slender, elongated trunk, thick neck and prominent horns, vestigial ears below; Anatolian workmanship.

£8,000 - 10,000

PROVENANCE: with Christie’s, New York, 8 June 2001, no.363. Private collection, Europe.

Accompanied by copies of the relevant Christie’s catalogue pages. Accompanied by an academic report by Dr Raffaele D’Amato.

FOOTNOTES:

Bulls with raised horns have been found in central Anatolian royal burials. Among the sacred animals found in the royal graves of Alacahöyük, the bull and the deer are always present. This simplified figure of a young and spritely standing bull recalls the Baltimore bull and the other two examples in the Cleveland Museum of Art. Images of bulls were mounted on standards, used in battlefields or in religious processions, or as in the royal graves of Alacahöyük, they were used to decorate cult furniture or shrines.

219

WESTERN ASIATIC BRONZE RAM-SHAPED KOHL VESSEL ‡

CIRCA 1500 B.C.

4½ in. (425 grams, 11.4 cm)

Modelled as a stylised ram with stocky body and short legs, exaggerated head with curving horns and large ears, tubular mouth with remains of the applicator closing the opening.

£800 - 1,000

PROVENANCE:

Private collection Dr Rudolf and Leonora Blum, Zumikon, Switzerland. with Galerie Rhéa, Zurich, Switzerland.

220

LURISTAN BRONZE HORSE BIT CHEEK-PIECE WITH MASTER OF ANIMALS

8TH–7TH CENTURY B.C.

5 in. (7¼ in.) (212 grams, 12.7 cm (601 grams total, 18.4 cm including stand))

Formed as an advancing ram on a baseline with head turned to face the viewer, applied collar, standing human figure holding the tail; circular hole to the shoulder to accept the bit; mounted on a display stand.

£2,000 - 3,000

PROVENANCE:

A.P. family collection, Europe, from 1969, partly transferred to the United Kingdom in 1981.

London art market, after 2000.

FOOTNOTES:

221

LURISTAN BRONZE HORSE BIT CHEEK-PIECES MODELLED AS WINGED GRYPHONS

8TH–7TH CENTURY B.C.

4 - 4¼ in. (10¼ in.) (423 grams total, 10.4-10.7 cm (1.07 kg total, 26 cm wide including stand))

Comprising a matched pair of cheek-pieces, each a winged gryphon standing on a baseline with head turned to face the viewer, curled tail to rump, lateral horns to the brow; pierced at the shoulder to accept the bit; mounted on a custom-made stand. [2]

£2,500 - 3,500

PROVENANCE:

A.P. family collection, Europe, from 1969, partly transferred to the United Kingdom in 1981.

London art market, after 2000.

FOOTNOTES:

Horse equipment was an important symbol of status and power in the Iron Age Near East. Elaborate bits with decorated cheek-pieces were not only practical items for controlling horses but also served a display function, reflecting the wealth and rank of their owners. The sphinx, a creature combining human and animal features, was a common protective figure in the art of the period. Winged sphinxes, in particular, were associated with divine guardianship and the protection of rulers and warriors. The use of such imagery on horse gear underscored the prestige of cavalry and chariotry in the 8th–7th century BCE, when mounted warfare played a central role in the expansion of Near Eastern empires.

BACTRIAN BRONZE ZEBU VESSEL WITH STOPPER

1ST MILLENNIUM B.C.

6½ in. (870 grams, 16.5 cm wide)

Modelled in the round as a zebu standing four-square with head raised; columnar muzzle with shallow slit mouth, discoid eye-sockets to accept and inlay; lateral loops at the shoulder and tubular filler-hole; separate hump forming a lid with corresponding loops for attachment. £15,000 - 20,000

PROVENANCE: Private collection, New York, 1987. with Bonhams, London, 1 May 2013, no.154.

Accompanied by a copy of the relevant Bonhams catalogue pages. Accompanied by an academic report by Dr Raffaele D’Amato.

FOOTNOTES:

The majestic zebu bull, with its heavy dewlap and wide curving horns, was considered to be a symbol of majesty and power since the first civilizations of the Indus Valley. It was the leader of the herd, the strength and virility (then symbol of fecundity) of which protected the group and ensured the procreation of the species. This is the reason why it was often chosen for sacrificial rites. It probably represented the emblem of the most powerful clans or top classes of Mohenjo-Daro and Harappa and it was the most impressive motif found in these cities, appearing constantly on painted pottery and bronze or clay figurines of the Indus area.

223

LARGE AZERBAIJAN HASANLU TEPE POTTERY VESSEL

1ST MILLENNIUM B.C.

14 in. (5.28 kg, 35.5 cm)

Comprising a broad bell-shaped bowl with flat rim attached by a thick trunk with four rows of angled impressions to a tripod base with sturdy curved legs with inner supporting ring and keeled finials.

£1,500 - 2,000

PROVENANCE: with Mahboubian Gallery, London, UK, 1974. Private collection, London, UK.

224

ACHAEMENID GLASS FLASK CIRCA 5TH CENTURY B.C.

5¾ in. (76 grams total, 14.6 cm including stand)

Comprising a tapering square-section body, square base and rounded shoulders; dragged trail ornament to each face narrow neck and everted rolled rim; mounted on a custom-made stand.

£400 - 600

PROVENANCE:

From an important collection of glass, London, UK, 1990s.

225

ANATOLIAN WHITE MARBLE STAMP SEAL WITH OWNER’S NAME

2ND MILLENNIUM B.C.

1 in. (26.7 grams, 35 mm)

Comprising a thick discoid body with a tapering handle above, accompanied by a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: ‘Stamp Seal of White Marble, 28 x 25 mm. The base of the stamp is round, with a flat bottom and slightly outcurving sides. The handle rises from the base with decreasing diameter, and eight sides, to the knob, which is roughly oval and pierced from side to side, with a raised band over the top. This shape is a typical Hittite stamp seal shape. The design consists of a band of design around the edge surrounding hieroglyphs in the middle. The band consists of four sections of pattern: three kinds of guilloche and one section of dots, interspersed with two opposite animal heads, and two opposite unidentified items. The hieroglyphs are no doubt the owner’s name. This seal comes from Anatolia, and dates to the 17/16th century B.C. It is in good state of preservation.’ [No Reserve]

£500 - 700

PROVENANCE: UK private collection, acquired 1990-1993.

226

LARGE PROTO-SUMERIAN RED JASPER SEAL ‡ CIRCA 3000 B.C.

2 in. (82.8 grams, 66 mm)

Plano-convex in section with incuse animal forms to the underside.

£800 - 1,000

PROVENANCE: Private collection.

Acquired from a Swiss collection, 2002.

227

BACTRIAN CARNELIAN AND AGATE BEAD NECKLACE

LATE 1ST MILLENNIUM B.C. AND LATER

33 in. (88 grams, 85.5 cm)

Restrung group of tabular lozenge beads, spherical and other spacer beads.

£500 - 700

PROVENANCE: Acquired in London, 1974. Ex K.M., London, UK.

with Gorny and Mosch, Auction 252, 13 December 2017, no.357. with Gorny and Mosch, Auction 256, 26 June 2018, no.273.

Private collection, London, UK.

228

SELJUK GOLD BRACELET WITH FLUTED BODY ‡

11TH-13TH CENTURY A.D.

2¾ in. (46.8 grams, 70 mm)

Triangular in section, the shank formed as continuous loops of gold rod tapering to the shoulders, closure formed as a domed disc with a granulated top and collar, granulated triangular plaque to each shoulder.

£3,000 - 4,000

PROVENANCE: Acquired in the 1980s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

229

WESTERN ASIATIC GOLD RING WITH CALLIGRAPHIC GEMSTONE 12TH-15TH CENTURY A.D. in. (7.00 grams, 22.05 mm overall, 16.29 mm internal diameter (approximate size British J½, USA 5, Europe 9.32, Japan 9))

Ellipsoid bezel with inset garnet cabochon, incised Kufic inscription.

£800 - 1,000

PROVENANCE: with Archaeologia, Switzerland, before 1983. Ex private North American collection. London private collection, 2016.

230

WESTERN ASIATIC CARNELIAN AND GOLD BEAD NECKLACE

LATE 1ST MILLENNIUM B.C. 21 in. (45.5 grams, 55 cm)

Restrung group of tabular, fusiform and other carnelian beads with granulated tubular gold collar spacers between.

£800 - 1,000

PROVENANCE: From the collection of a late Japanese gentleman, 1970s onwards.

231

WESTERN ASIATIC TURQUOISE-COLOURED STONE BEAD

NECKLACE

1ST MILLENNIUM B.C. AND LATER

26 in. (99 grams, 66 cm)

Restrung designer group of flat-diamond, lentoid-section tabular, and other types.

£500 - 700

PROVENANCE:

From the collection of a late Japanese gentleman, 1970s onwards.

232

WESTERN ASIATIC AGATE AND GOLD BEAD NECKLACE

1ST MILLENNIUM B.C.

20 in. (96.6 grams, 52.5 cm)

Restrung group of oval and other agate beads with interstitial spherical gold beads with granule clusters.

£800 - 1,000

PROVENANCE:

From the collection of a late Japanese gentleman, 1970s onwards.

233

ACHAEMENID BANDED AGATE BEAD WITH GOLD CAPS

6TH-4TH CENTURY B.C.

¾ in. (1.26 grams, 19 mm)

An elbow bead with an ellipsoid cap to each finial.

£500 - 700

PROVENANCE:

From the collection of a late Japanese gentleman, 1970s onwards.

234

BACTRIAN GOLD PENDANT WITH AGATE BEAD

4TH-2ND CENTURY B.C.

2 in. (14.6 grams, 50 mm)

Stepped frame with bands of granulation and four small suspension loops, inset oval banded agate cabochon.

£3,000 - 4,000

PROVENANCE: with Christie’s, Ancient Jewelry, New York, 6 December 2007, no.466.

235

SOGDIAN SILVER BOWL WITH EMBOSSED CENTRE

6TH-7TH CENTURY A.D.

6 in. (134 grams, 15.5 cm)

Dipping bowl, raised from a single sheet of silver, decorated with an incised rosette to the underside with central omphalos; rolled and everted rim; inner face with repoussé rosette, each petal with a stylised beast reserved on a pounced field; later applied central rosette with acanthus border, tondo with repoussé wyvern rampant.

£4,000 - 6,000

PROVENANCE: Acquired on the UK art market. Private collection, London.

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

236

SOGDIAN SILVER CUP WITH INCISED DESIGN

7TH-8TH CENTURY A.D.

3 in. (67.7 grams, 86 mm)

Comprising a tapering sidewall with carination and convex underside, trumpet-shaped foot with beaded rim; D-shaped thumb-pad to the rim with narrow chamfered handle and spur beneath; frieze of fronds reserved against a pounced field.

£6,000 - 8,000

PROVENANCE:

Old Belgian private collection, 1970s. Acquired on the Brussels art market, 2008.

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

FOOTNOTES:

Footed silver cups with ring handles were well known in Central Asia and were common in Sogdian silverwork of the 7th – 8th century A.D. The low beaded foot and the ring handle with lobed thumb rest are well documented in Sogdian silver attributed to the same period. The plant and floral decoration finds parallel with a silver bowl from Xijao (Marshak, 1999, fig.6), which shows the same low beaded foot of our cup. This decoration is also visible on a vessel from the Malaya Perescepina treasure, sent by the Emperor Heraclius to the Bulgarian Khan Kuvrat. Heraclius took it together with other precious objects as war booty after defeating the Sasanians in 627-628 A.D.

FOOTNOTES:

The bowl shows very clearly to be the product of a Sogdian workshop. Stylistic analysis suggests its manufacture by a Sogdian craftsman who belonged to a particular school of metalwork. The workmanship of these artefacts spans across Central Asia from Sogdiana to Tibet to China, a reflection of the complex dynamics of extensive commercial and cultural exchange along the vast network of the Silk Routes. Forms and parallels can be found in a wide territory, from the Avar State to Tang China. Due to their decorative motifs of confronting, the distinctive metallurgical techniques and the inscribed indicators of weight, these objects are concrete proof for the particular high esteem of the aesthetics and skills of Sogdian metalwork.

LARGE SOGDIAN SILVER-GILT WILD BOAR RHYTON

5TH-6TH CENTURY A.D.

8½ in. (1.3 kg, 21.5 cm long)

A Sogdian or Sasanian head of a wild boar with detailed facial features including large snout, curled tusks, alert eyes with heavy eyelids, erect ears, the animal's mane framing the head and back; a series of small circles decorating the cheeks; an oval vessel mouth emerging from the mane and the spout formed as a pierced stud at the centre of the boar's chest.e

£60,000 - 80,000

PROVENANCE: with a New York gallery, 1970s Private collection, London.

Accompanied by three black-and-white photographs taken prior to cleaning, believed to date from the 1970s.

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

FOOTNOTES:

The production of silver vessels and dinner objects for the court was highly centralised within the Sasanian Empire. In the 5th and 6th century AD, the production of silver vessels expanded, creating new shapes, such as pitchers, elliptical bowls and high-footed bowls. If the iconography included also Dionysian and Christian imagery, the subjects linked with the royal power were the favourite, and among them, the boar. The boar was, in fact, the animal associated with the Zoroastrian Izad Vahram, the epitome of victory. It was not a coincidence that one of the usurpers of the Persian throne, the general Farrukh n, took the title of Shahrbaraz (reigning in 630 AD), whose name means ‘The Boar of the Empire’, attesting to his dexterity in military command and warlike personality. Shahrwar z derived in fact from the middle-Persian word shahr (country) and war z (boar).

239

SOUTH ARABIAN ALABASTER HEAD OF A WOMAN

6TH-4TH CENTURY B.C.

12 in. (3.66 kg total, 31.4 cm including stand)

Large female head with angular nose with straight ridge, rounded cheeks and chin, large sockets for inlaid eyes with rounded depressions in the centre of the eyes, grooved eyebrows and outlines of the eyes, the tapering neck long and cylindrical, the back left roughly tooled; mounted on a custom-made display stand.

£600 - 800

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

FOOTNOTES:

This finely carved calcite-alabaster head was originally set within a stela and inscribed with the name of the deceased. Six hundred of these funerary stelae were discovered in localities like M rib, and other examples were later found during the excavations of the Awwam temple cemetery.

238

SOUTH ARABIAN ALABASTER HEAD OF A FEMALE

3RD-1ST CENTURY B.C.

7¼ in. (1.96 kg total, 18.5 cm including stand)

Sculptured female head, angular nose with straight ridge, slightly rounded cheeks and triangular chin, large sockets for inlaid eyes, grooved eyebrows and high ears, long locks of hair visible below the ears; mounted on a custom-made display stand.

£600 - 800

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

FOOTNOTES:

In the Arabian funerary sculptures of the period, the tops of the heads are usually cut off flat just above the hair line and left roughly tooled. The cut was due to the necessity of fitting them into niches of ‘house shrines’. Large stelae with niches containing such heads were found in the Timna Cemetery.

240

SABAEAN ALABASTER BULL

3RD-1ST CENTURY B.C.

5½ in. (1.14 kg, 14 cm wide)

Carved in the round with integral rectangular base; of sturdy build with thick shoulders, rump and legs; latticed hair texture to the brow.

£3,500 - 4,500

PROVENANCE: Mrs Janssens, Belgium, 1970s. Private collection, London, UK.

FOOTNOTES:

In Sabaean religion, the bull signalled strength, fertility, and divine protection, and is often linked by scholarship with the moon-god Almaqah, the principal deity of the kingdom. Small alabaster figures of this type were likely set up as temple offerings or served as fittings within cultic furnishings; flat undersides or discreet mounting points on some examples suggest attachment to a larger ensemble.

241

SOUTH ARABIAN ALABASTER PLAQUE WITH BULL’S HEAD

3RD-1ST CENTURY B.C.

7 in. (2.09 kg total, 19.8 cm including stand)

Comprising a square panel with a bull’s head in low-relief, striated eyes and flaring nostrils, a thick tuft of hair arranged between the eyes, shallow acanthus leaf between curved horns, inscription on the rectangular space at the bottom of the panel; mounted on a custommade display stand.

£500 - 700

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

FOOTNOTES:

The presence of these representations in South Arabian cemeteries attests to the importance of the bull in the religious iconography of pre-Islamic Arabia.

242

JEWISH TERRACOTTA MAGICAL BOWL WITH FOUR SEPARATE BIBLE QUOTATIONS IN ARAMAIC TEXT

CIRCA 3RD-5TH CENTURY A.D.

10 in. (1.36 kg, 27 cm wide)

Of conical profile with flat base and crimped band to the rim; fourteen lines of writing to the inner face in a practised scribal hand; to the centre a free-hand linear motif; extensive Aramaic text for ‘ Dukhtanšah daughter of Gušnoi’ with four separate biblical quotations (Numbers 9:23; Zachariah 3:2; Psalms 55:8; Psalms 91:7-8); textual translation by Shaul Shaked, 1933-2021, Emeritus Professor of Iranian Studies, Religious Studies, Aramaic and Magic in Late Antiquity (The Hebrew University, Jerusalem) comprising: ‘which I, Dukhtanšah daughter of Gušnoi, and I drive out the great ...... and tigers are placed upright on my head, and malicious pebble-stones are placed on my chest, and at their knees are sealed heaven and earth, fire, water, moon, stars, zodiac signs, sparks, air, demons, d vs, accidents, no-good-ones, satans, danahiš, male idols and female goddesses. Again. I seal and double-seal, I, Dukhtanšah daughter of Gušnoi, by these three magic words with which they speak and listen, for the great hammer of splendour and the great axe of the beginning and the scourge of 360 pure pebble-spirits. Amen, Amen, Selah. “At the commandment of the Lord they rested in the tents, and at the commandment of the Lord they journeyed” (Numbers 9:23). “And the Lord said unto Satan, The Lord rebuke you, O Satan, even the Lord that has chosen Jerusalem rebuke you. Is this not a brand plucked out of the fire?” (Zachariah 3:2). Again. I seal and double-seal, I, Dukhtanšah daughter of Gušnoi, by my ten fingers, by

the twenty small (fingers) of my hand, by the muscles of my hand, by the chain and the coat of mail, and by the signet-ring of King Solomon son of David, from Ashmedai and from his whole division, from Tisi Ipidan and from all their chariot, from Aninhada and from all ..., from Agrat bat MaÎlat and from all their chariots, from DanaÎiš and from all his family, from Zakkaya and the pebble-spirits and from all his family, from the troops of the demon DanaÎiš, the one who goes in through the shoe-laces of people, sits in the heart and crushes the wound ... so that .... not, ... and he sits and officiates ... her stature. By the name of ... by the name of Îyyš yh hh, By the name of Yahu Yahu, by the name of Sabaot Sabaot, by the name of El Shaddai ... demons, plagues, satans, Danahiš and his troops ... and afflictions and nogood-ones and male idols and female goddesses and ... evil ones, that you may not come near Dukhtanšah daughter of Gušnoi. Not you, Ashmedai, and not the whole of ... and not you, Ipidan, and not all your chariot; ... not you, Agrat bat MaÎlat, and not all your chariot, not you, DanaÎiš, and not the whole of your camp; not you, Zakkaya and pebble-spirit, and not the whole of your camp; ... from this day and for ever. Amen, Amen, Selah. ... “Lo, I would wander far off and would remain in the wilderness, Selah” (Psalms 55:8). “A thousand may fall at your side, ten thousand at your right hand, but you it shall not touch” (Psalms 91:7). Firm and well-established.’

£10,000 - 14,000

PROVENANCE: Previously from a family collection before 1988.

From a gentleman’s private collection, housed in London, UK, 1990-2000s.

FOOTNOTES:

A very important piece shedding much light on the history of biblical texts.

244

WESTERN ASIATIC GLASS BOTTLE ‡

10TH-11TH CENTURY A.D.

3¼ in. (36 grams, 83 mm)

In iridescent glass with squat body and hexagonal-section mouth; dragged trail detailing.

£400 - 600

PROVENANCE: Ex collection M.W.A., Germany. Acquired in 1996.

Private collection, Switzerland, by descent.

243

SASANIAN CUT GLASS BOWL

5TH CENTURY A.D.

3¾ in. (187 grams, 96 mm)

Rounded in profile and decorated with a dense frieze of wheel-cut facets.

£2,000 - 3,000

PROVENANCE: London art market, 1989. Private collection, London, UK.

245

WESTERN ASIATIC COBALT-BLUE FOOTED CERAMIC BOWL

9TH CENTURY A.D.

7¼ in. (498 grams, 18.5 cm)

With a carinated sidewall, rolled and everted rim, shallow foot; partial lustre-glaze to the surface with four trapezoidal panels: two with a reserved regardant bird and two with a tracery motif.

£5,000 - 7,000

PROVENANCE:

Private collection, Japan, acquired prior to 1982. Private collection, UK.

PUBLISHED:

Masterpieces of Lustre-Painted Pottery: Persian Ceramics from Distant Lands ( ), The Asahi Shimbun Company, 1982, no. I-32, illustrated. Exhibited: Nihonbashi Takashimaya, Tokyo, 20–25 May 1982. Maruei Sky Building, Nagoya, 29 May–3 June 1982. Takashimaya, Osaka, 10–15 June 1982. Takashimaya, Okayama, 17–22 June 1982.

246

WESTERN ASIATIC BRONZE INCENSE BURNER IN THE SHAPE OF AN EAGLE ‡

9TH-11TH CENTURY A.D.

4 in. (430 grams total, 11 cm including stand)

With outstretched wings and erect body, open beak and eyes hollowed to accept inserts, five-feather spread tail and a rectangular socket to the back; mounted on a custom-made display stand.

£3,000 - 4,000

PROVENANCE:

Béla Hein collection, Paris, France, before 1931.

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

248

WESTERN ASIATIC DOUBLE ANIMAL SPOUTED VESSEL

8TH-9TH CENTURY A.D.

9¾ in. (1.32 kg, 24.7 cm)

Biconvex body with spout formed as an animal-head, filler to the rear with crimped rim and ribbed loop between; traces of painted design.

£400 - 600

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

250

SYRO-HITTITE TERRACOTTA MAN RIDING BULL

12TH-7TH CENTURY B.C.

2½ in. (41.5 grams, 64 mm)

Standing bull with a rider on its back holding onto the horns, leaning forwards, staring the bull in the eyes and applying what is possibly a bridle decorated with a series of impressed ‘dots’; the rider seated forward on the shoulders, applied eyes with central impressed ‘dot’, a series of dots impressed in an X-pattern between shoulders and hips at the rear and three bands of impressed dots to the legs; bull’s tail held firmly between his back legs, applied eyes, shallow dots and incised line representing muzzle and mouth, applied collar at the neck decorated with three lines of impressed ‘dots’. [No Reserve]

£400 - 600

PROVENANCE:

Ex important Mayfair, London, UK, collection, before 2000.

From the private collection of John Meredith, acquired since the 1990s; thence by descent.

247

WESTERN ASIATIC TERRACOTTA VESSEL WITH LION-HEAD WITH GLASS EYES

8TH-9TH CENTURY A.D.

7¾ in. (739 grams, 19.7 cm)

With biconical profile and flared foot, cable-twist strap handle, applied raised band to the shoulder and neck; discoid feline head with filler hole and spout, inset turquoise-coloured scaphoid eyes.

£600 - 800

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

249

WESTERN ASIATIC PAINTED TERRACOTTA VESSEL

9TH-8TH CENTURY B.C.

12¾ in. (1.16 kg, 32.3 cm)

Bulbous body with four stub legs, tall neck and internal strainer, tall scooped edge to the rim, loop handle to the rear; body and neck painted with geometric motifs, red paint on the base and legs.

£400 - 600

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

251

LARGE WESTERN ASIATIC TERRACOTTA PAINTED JUG

8TH-9TH CENTURY A.D.

7¼ in. (818 grams, 18.5 cm)

With squat profile, broad shoulder, wide neck and flared rim; strap handle with thumb-pad to the rim; bands of reserved tendrils on a hatched field.

£400 - 600

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

253

WESTERN ASIATIC CERAMIC ZOOMORPHIC VESSEL

8TH-9TH CENTURY A.D.

77 in. (1.06 kg, 19.5 cm)

Comprising four conical legs supporting a double globular body with conical neck and ram’s head, spout to the rear with strainer connected by a bridging loop; applied painted hatched spiral detailing; old label to the underside: ‘YAZDANI 211C LONDON’.

£500 - 700

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000. Private collection, Mr M.V., a London-based businessman.

252

WESTERN ASIATIC PAINTED TERRACOTTA VESSEL

8TH-9TH CENTURY A.D.

5 in. (407 grams, 12.7 cm)

Squat in profile and of tiered construction with strap handle and broad pouring lip, bands of polychrome painted foliage decoration.

£200 - 300

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

254

WESTERN ASIATIC TERRACOTTA VESSEL WITH BIRD HEAD

8TH-9TH CENTURY A.D.

7 in. (612 grams, 18 cm)

Aviform body with loop handle and applied collars and detailing to the neck and head; painted spiral tendril design.

£300 - 400

PROVENANCE:

UK collection, 1990s.

Acquired on the UK art market, before 2000.

Private collection, Mr M.V., a London-based businessman.

255

GREEK BRONZE CHALCIDIAN-TYPE HELMET

CIRCA 5TH-4TH CENTURY B.C.

19 in. (1.46 kg total, 48 cm including stand)

Hammered from sheet-bronze, hemispherical dome with a seam at the front and back, the seams secured together with a series of pins, threaded through rivet holes; from the front, a repoussé ridge forming curved brows leading down towards a nasal decorated with four pellets; two small perforations above the right brow and a perforation on either side of the top section; two cheek guards present, a characteristic of the helmet’s type, attached to the helmet with hinges, allowing for easier wear and construction; the cheek-pieces rectangular in shape and curved at the back; a horizontal band of inverted triangles decorating the top of each cheek guard, each pierced towards the bottom, where an inner lining would have been attached, two curved cut-outs behind to accommodate ears; accompanied by a custom-made display stand.

£12,000 - 17,000

PROVENANCE: Previously with the Parthenon Gallery, WC1, London, UK; acquired 2010. From the J.L. collection, Surrey, UK.

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

FOOTNOTES:

The Chalcidian helmet was a popular type of helmet in the Hellenistic world, particularly in the Greek-occupied region of southern Italy, during the 5th and 4th centuries. However, types have also been found from the mid-6th century BC. It was a lightweight progression from the Corinthian helmet and allowed the wearer better hearing and vision than its older, bulkier Corinthian counterparts. The term ‘Chalcidian’ originates from its frequent depiction on pottery once thought to have come from the Euboean city of Chalcis. This variant of the Chalcidian helmet, featuring hinged cheekplates, is also known as the Lucanian type, as it was used extensively in Lucania. This type of helmet was still in use by the time of Alexander the Great, particularly by the hoplites, heavy infantrymen, and is thought to have developed into the Attic helmet, used well into the Imperial Roman era.

256

HIGHLY DECORATED CAUCASIAN BRONZE HELMET

6TH CENTURY B.C.

8¼ in. (650 grams, 21 cm wide)

Formed as a domed bowl with a rivetted overlay on the top, a bird of prey finial at the crown with a raised vertical ridge before the beak; extensive decoration on the body comprising annulets, lines, ringand-dot motifs and pointillé borders, a circumferential border of rectangular panels on the lower part of the helmet, each rectangle divided into four triangular panels with herringbone and ring-and-dot decoration; a short nose-guard beneath the raised ridge, four raised bosses flanking the ridge, depicting apotropaic eyes; the lower rim pierced for the attachment of internal lining.

£40,000 - 60,000

PROVENANCE: Ex German private collection, M.B., Mainz, 1980s. Acquired from the above by the current owner.

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

FOOTNOTES:

The helmet belongs to a limited series of helmets found in the Caucasus, discovered in archaeological complexes of the Colchis-Koban Culture, adding another chapter to the history of a series of important Caucasian helmets. Its decoration rivals that of a helmet of the Krasnodar Museum, until now the most complete and decorated in this category. All the helmets of this typology were decorated according to a certain scheme, but the present helmet and the one from Krasnodar are richer in terms of symbols and ornaments. The decoration and similarity with other helmets in this series suggest that the present helmet could have been made for the military elite of the North-West Caucasus in Central Caucasian workshops. Most likely, the owner was part of the elite of the local tribes of the North-West Caucasus of the Maeotic circle.

257

LURISTAN BRONZE SHORT SWORD

2ND-1ST MILLENNIUM B.C.

16 in. (303 grams, 40.5 cm)

A short sword or dirk with slender triangular blade, low round midrib with flat upper face, annular guard and remains of scooped shoulders, columnar grip with open sides to receive bone or wooden hilt, crescent pommel.

£500 - 700

PROVENANCE:

Ex Abelita family collection, 1990s.

258

LURISTAN BRONZE SHORT SWORD WITH INLAID HANDLE

1000 B.C.

19 in. (515 grams, 50 cm)

With triangular tapering blade, flanged hilt to accept inlays, bone on the handle, two angular indentations on each side of the guard.

£1,000 - 1,400

PROVENANCE: with Bonhams, London, 4 July 1996, no.324. Private collection, Suffolk.

259

LURISTAN BRONZE SHORT SWORD WITH BLOOD CHANNELS

1ST MILLENNIUM B.C.

20 in. (558 grams, 53 cm)

Broad two-edged blade, leaf-shaped with short rectangular tang, corrugated midrib extending almost to the tip; rounded shoulders. [No Reserve]

£300 - 400

PROVENANCE: with Archaeologia, Switzerland, before 1983.

Ex private North American collection. London private collection, 2016.

260

WESTERN ASIATIC BRONZE SWORD BLADE

MID 1ST MILLENNIUM B.C.

15¼ in. (384 grams, 38.7 cm)

Two-edged leaf-shaped blade with short rectangular tang, corrugated midrib extending almost to the tip and flared at the shoulders.

£350 - 450

PROVENANCE: From a London collection, early 2000s.

CAUCASIAN BRONZE HILTED IRON SWORD

IRON AGE, 8TH-6TH CENTURY B.C.

30¾ in. (2.2 kg total, 78 cm including stand)

A broad sword with tapering blade and rounded shoulders, bronze hilt with crescentic pommel and apotropaic eye motifs to both sides; accompanied by bronze scabbard or baldric elements including a pair of eyelets with suspension loops, four circular appliqués with conical tips and ropework borders, and a scabbard chape with two opposing ibexes; mounted on a custom-made display stand.

£4,000 - 6,000

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

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

FOOTNOTES:

The sword belongs to the Caucasian culture of the Colchis, and represents a very rare typology. A similar blade was found together with early Scythian arrows during excavations at Karmir-Blur. A similar combination found at Kulanurkhva’s excavations suggests that the appearance of such blades in Abkhazia is linked to the Scythian campaigns in Near Eastern Asia.

263

ELAMITE DECORATED BRONZE AXEHEAD

2ND-1ST MILLENNIUM B.C.

4½ in. (330 grams, 11.6 cm)

With a crescentic blade, ornamental curved edging to the upper shaft hole, a collar to the lower shaft hole, raised band around the edge of the blade.

£500 - 700

PROVENANCE:

French collection, 1980s.

Acquired on the London art market. Private collection, London, UK.

265

ELABORATE CANAANITE BRONZE ‘ANCHOR’ AXEHEAD ‡ EARLY 2ND MILLENNIUM B.C.

4 in. (305 grams, 11.2 cm wide)

Comprising a deep crescentic blade with two spurs at each end intended to brace against the shaft, a narrow neck, and flared socket with vertical spurs to the reverse and a knop finial.

£800 - 1,000

PROVENANCE: Acquired in the mid 1980s-1990s.

Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

262

ELAMITE DECORATED BRONZE AXEHEAD

2ND-1ST MILLENNIUM B.C.

3 ¾ in. (390 grams, 96 mm)

With a short socketted shaft with hatched panel, triangular-section blade with reeded upper edge, broadening towards the cutting edge.

£500 - 700

PROVENANCE:

French collection, 1980s.

Acquired on the London art market. Private collection, London, UK.

264

ELAMITE DECORATED BRONZE AXEHEAD

2ND-1ST MILLENNIUM B.C.

4 in. (360 grams, 10.4 cm)

With a slender, scooped blade, a round socket with a ribbed outer flange, and three lobed extensions to the rear of the socket with lowrelief decorative bands.

£500 - 700

PROVENANCE:

French collection, 1980s. Acquired on the London art market. Private collection, London, UK.

266

ROMAN IRON SPATHA SWORD

2ND-4TH CENTURY A.D.

27 in. (468 grams, 70.1 cm)

A double-edged blade of Lauriacum Hromówka typology with blood channels running down most of its length on both sides, parallel cutting edges tapering towards the triangular point, massive tapering tang with a bronze nail for the fastening of the pommel, and an ancient repair at the base of the tang with a flattened domed rivet.

£3,000 - 4,000

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

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

267

MEROVINGIAN IRON PATTERN-WELDED SWORD

CIRCA 6TH CENTURY A.D.

34 in. (694 grams, 86.5 cm)

A double-edged spatha with a lentoid parallel-sided blade and pointed tip; evidence of battle nicks on both cutting edges; long tang and traces of wooden scabbard on the blade; signs of damask pattern running along the length of the blade, especially on the upper part; cleaned and conserved.

£2,000 - 3,000

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

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

268

SAXON SACRIFICED IRON SPATHA WITH BRONZE CHAPE

5TH-6TH CENTURY A.D.

30¾ in. (630 grams total, 78 cm long)

Double-edged long sword (spatha) of type Osterburken-Kemathen; the blade with squared shoulders, broken into two parts for sacrificial reasons, tapering towards the point; sturdy tang partially preserved; wooden traces of the scabbard and hilt still visible; accompanied by a bronze outer rim of a scabbard; restored. [3]

£1,500 - 2,000

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

269

VIKING AGE IRON PATTERN-WELDED SWORD WITH DECORATED HILT AND CHAPE

11TH-13TH CENTURY A.D.

34 in. (705 grams, 87.3 cm)

Of Couronian type with straight blade tapering towards the point, shallow, tapering fullers, narrow tang, and boat-shaped lower guard with Jellinge Style decoration with wheel-type decoration to both sides, five-lobed pommel rivetted at the top; accompanied by a scabbard with Jellinge Style interlace decoration.

£4,000 - 6,000

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

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

270

BRITISH STONE AGE ‘HAPPISBURGH’ FLINT HANDAXE

LOWER PALAEOLITHIC PERIOD, CIRCA 600,000-250,000 B.P.

3½ in. (4½ in.) (175 grams, 90 mm (213 grams total, 11.3 cm including stand))

Cordate in profile with worked cutting edge; mounted on a custommade stand.

£400 - 600

PROVENANCE:

Discovered by P Macro at Happisburgh, Norfolk, UK, in 2019.

FOOTNOTES:

The site of Happisburgh in Norfolk has helped to push the history of inhabitation of the British Isles back by 200,000 years, making it a site of special importance.

271

FRENCH STONE AGE ‘NEANDERTHAL’ HANDAXE WITH FOSSIL ECHINOID

MIDDLE PALAEOLITHIC PERIOD, CIRCA 300,000-150,000 B.P.

4¾ in. (6¼ in.) (458 grams, 12.1 cm (516 grams total, 16 cm including stand))

Triangular in profile and biconvex in section with some cortex and embedded fossil to one face; mounted on a custom-made stand.

£800 - 1,000

PROVENANCE:

Found Dordogne, France.

From the collection of Jean-Claude Debenne (1936-2020), an amateur prehistorian and former member of the French Society of Prehistory and the Prehistoric Association of the South-West; also a Honorary Member of the Geological Club of Ile-de-France; his collection of flints formed between the 1950s and 1990s, and coming from Ile-de-France, Oise, Val-d’Oise and the Dordogne.

FOOTNOTES:

An extremely rare artefact due to the fossil Echinoid being retained on the front of the handaxe and utilised during its creation. Dual silky patina from being sat within nutrient-rich soil, which contrasts against the remaining golden orange cortex. Attributed to Neanderthal - Mousterian in the form of the Acheulean (MTA).

272 FRENCH STONE AGE ‘HOMO HEIDELBERGENSIS’ COLOURFUL FLINT HANDAXE

LOWER PALAEOLITHIC PERIOD, CIRCA 600,000-350,000 B.P.

4 in. (4¾ in.) (239 grams, 99 mm (282 grams total, 12.1 cm including stand))

Cordate in profile with deep orange, yellow and purple glossy patina; mounted on a custom-made stand.

£500 - 700

PROVENANCE:

FOOTNOTES:

Attributed to Homo Heidelbergensis.

273 LARGE BRITISH STONE AGE FLINT HANDAXE

PALAEOLITHIC PERIOD, CIRCA 550,000-300,000 B.P.

5 in. (6 in.) (329 grams, 13.6 cm (388 grams total, 15.4 cm including stand))

Leaf-shaped in profile with broad cutting edge; mounted on a custommade stand.

£500 - 700

PROVENANCE:

Found Valdoe Pitt, Goodwood, UK.

Found by John Sharp in the 1980s, former well known archeologist and member of the Lithic Society.

Inherited by Mr J S and sold privately in the 2020s.

274

LARGE STONE AGE CORDED WARE BOAT-SHAPED AXEHEAD

6TH-5TH MILLENNIUM B.P.

9½ in. (1.2 kg, 24.3 cm)

A large and finely formed boat-shaped axe with asymmetric convex cutting edge, with pronounced ridge to upper surface copying a bronze casting seam, rounded hammer-butt, pierced to receive handle with a projecting socket to underside. [No Reserve]

£3,000 - 4,000

PROVENANCE:

From the private family collection of a lady, UK; acquired in Germany mid 20th century.

FOOTNOTES:

This battle axe is of ‘boat axe type’, lentoid in outline with slightly expanded butt. These axes, usually of black fine-grained rock, are mostly of Swedish or Norwegian origin. The asymmetrical lentoid cross-section is flattened towards the cutting edge.

275 VERY LARGE DANISH STONE AGE POLISHED FLINT AXEHEAD

EARLY TO LATE DOLMEN PERIOD, CIRCA 3700-3300 B.C.

8 in. (9 in.) (739 grams, 22 cm (848 grams total, 23.2 cm including stand))

Thin-butted and of Nielsen Type III with straight sides and regularly rounded ends; mounted on a custom-made stand.

£800 - 1,000

PROVENANCE: Previously in the ownership of a Danish gentleman. Acquired at Braun Rasmussen Auction House (part of Bonhams) in the 2020s.

276

LARGE STONE AGE POLISHED FLINT AXEHEAD

NEOLITHIC PERIOD, CIRCA 6,000 B.P.

7½ in. (9 in.) (527 grams, 18.5 cm (602 grams total, 23.2 cm including stand))

Triangular in profile and lentoid in section with broad edge and pointed butt; mounted on a custom-made stand. [No Reserve]

£300 - 400

PROVENANCE: Found Ventoupe, France. From the private collection of a late French gentleman collector.

277

BRITISH STONE AGE BIFACIAL CLASSIC FICRON FLINT HANDAXE

LOWER PALAEOLITHIC PERIOD, CIRCA 450,000-300,000 B.P

7¼ in. (730 grams, 18.5 cm)

A massive symmetrical piriform hand-axe with cream-coloured cortex, flattened hand edge, and tapering body to a small blade point.

£600 - 800

PROVENANCE: Found Fareham, Hampshire, UK, circa 1961-1962, by the vendor when he was 16 years old.

FOOTNOTES: This superb specimen fits the adult male hand perfectly, ‘like a glove’.

279

STONE AGE NEANDERTHAL PERIOD BEAVER JAW PENDANT WITH MARKINGS

2.5 MILLION-10,000 YEARS B.P.

3 in. (27 grams, 98 mm)

Portion of the mandible with teeth in situ; incised cevron to outer face, pierced for suspension. [No Reserve]

£600 - 800

PROVENANCE:

From the private family collection of a lady, UK; acquired in Germany mid 20th century.

281 STONE AGE AMBER BEAD COLLECTION

CORDED WARE CULTURE, 6TH-5TH MILLENNIUM B.P.

- 1 in. (38 grams total, 9-30 mm)

Including pierced irregular flat discs and other types. [18, No Reserve]

£600 - 800

PROVENANCE:

From the private family collection of a lady, UK; acquired in Germany mid 20th century.

278

CENTRAL EUROPEAN IRON AGE RED-WARE JAR ‡ HALLSTATT, 700-500 B.C. 2¾ in. (93 grams, 69 mm)

Squat ceramic jar with reserved collar to the shoulder, hatched upper body with reserved red-pigmented triangles; label to inner ‘Göllschau b/Hagnau’.

£400 - 600

PROVENANCE:

Found Göllschau bei Hagnau, before 1945. Formerly in the collection of Dr.Siegfried Zimmer, Germany. Private collection, acquired by M.A. in 2004.

Accompanied by old collector’s catalogue note: ‘Fundort: Göllschau bei Hagnau Reg.Bez. Liegnitz/Schlerien’ and ‘Rotbemaltes Ziergefäss / Hallstattzeit 700500 v. Chr / Ausgang der Hegner’.

280 STONE AGE NEANDERTHAL PERIOD CAVE BEAR TOOTH PENDANT

2.5 MILLION-10,000 B.P.

4½ in. (103 grams, 11.7 cm)

A bear’s fang drilled for suspension for use as a pendant. [No Reserve]

£600 - 800

PROVENANCE:

From the private family collection of a lady, UK; acquired in Germany mid 20th century.

282

LARGE BRONZE AGE DECORATED LOOPED AND SOCKETTED

AXEHEAD

CENTRAL EUROPE, 2ND-1ST MILLENNIUM B.C.

5 in. (442 grams, 13.8 cm)

With an elliptical-section barrel and two parallel ribs beneath the flared mouth, flared cutting edge, small lateral loop below rim; casting seams to the sides. [No Reserve]

£300 - 400

PROVENANCE:

Ex David Miller, Hemel Hempstead, London, UK.

From the private collection of a West London, UK, gentleman, formed since the early 2000s.

284

BRITISH BRONZE AGE PALSTAVE AXEHEAD

MIDDLE BRONZE AGE, 1500-1150 B.C.

4 in. (196 grams, 10.2 cm)

With sub-triangular in plan blade and convex expanding sides, convex cutting edge; blade widest before the stop ridge; both faces presenting an impressed triangle below the stop ridge at the upper end of the blade; U-shaped septum and straight-sided open flanges for hafting; butt absent.

£250 - 350

PROVENANCE:

Found whilst searching with a metal detector near Vale of White Horse, Oxfordshire, UK, on Saturday 13th September 2014.

Accompanied by a copy of the British Museum’s Portable Antiquities Scheme (PAS) report no.SUR-1CB11A.

FOOTNOTES:

The Portable Antiquities Scheme states that this axehead is: ‘probably part of the Acton Park or Taunton metalwork assemblages.’

283

LARGE BRITISH BRONZE AGE LOOPED PALSTAVE AXEHEAD

EARLY 1ST MILLENNIUM B.C.

6 in. (521 grams, 16.7 cm)

Of Type Worthing with deep lateral flanges, deep mid-stops, one lateral loop, blade with ledge and flared edge; impressed wedge motif to each face.

£250 - 350

PROVENANCE: Found Lincolnshire, UK.

285

CELTIC BRONZE BOAR STATUETTE

IRON AGE, 1ST CENTURY B.C.-1ST CENTURY A.D.

2 in. (98 grams, 50 mm)

Modelled in the round with notches to the ridged back, sockets to the eyes, coiled tail.

£800 - 1,000

PROVENANCE:

From the collection of a Hampshire, UK, gentleman, established from the 1960s.

287

LARGE ANGLO-SAXON BRONZE FLORID CRUCIFORM BROOCH

LATE 5TH-6TH CENTURY A.D.

5 in. (52 grams, 12.3 cm)

With highly decorative openwork border of Style I ornament to the headplate formed as a rectangular median plate with lateral wings, enhanced with punched-pellet detail to the sides and top edge of each; raised central square panel with incised rosette; to the middle of each edge a Style I human mask in plan, formed as a T-shaped brow-and-nasal with two pellet eyes, with pairs of Style I profile birdheads with curved beaks; the bow deep with facetting at each end; the footplate rectangular with Style I lappets; transverse collar above a finial Style I human mask with complex beard below; pin-lugs and scar for catchplate to reverse.

£800 - 1,000

PROVENANCE:

Found Seaham, Co Durham, UK.

Property of a Durham private collector.

286

LARGE ANGLO-SAXON BRONZE GREAT SQUARE-HEADED BROOCH

LATE 5TH-6TH CENTURY A.D.

5¼ in. (86 grams, 13.4 cm)

Comprising: rectangular headplate with raised borders and concentric bands of Style I animal ornament and central disc; three ribs to the shallow bow with central disc; horse-head lappets to the shoulders, cruciform footplate with raised inner rim and Style I motif, boss with surrounding tiered collar to the foot and lateral lugs; remains of catch, pin-lug and ferrous pin to the reverse.

£1,500 - 2,000

PROVENANCE:

Found Seaham, Co Durham, UK.

Property of a Durham private collector.

LARGE ANGLO-SAXON GILT BRONZE GREAT SQUARE-HEADED BROOCH

LATE 5TH-6TH CENTURY A.D.

5¼ in. (83 grams, 13.5 cm)

Comprising a rectangular headplate with outer concentric bands of punched points, inner of Style I animals, raised border, and inner panel of scrolls; bow with three raised vertical ribs; footplate with

lateral lappets featuring profile horse-heads; median bar with punched points, lozenge panels with scrolled border and rounded lateral and finial lugs; pin-lugs and catch to the reverse.

£6,000 - 8,000

PROVENANCE: Found Seaham, Co Durham, UK. Property of a Durham private collector.

290

LARGE ANGLO-SAXON BRONZE GREAT SQUARE-HEADED BROOCH

LATE 5TH-6TH CENTURY A.D.

5½ in. (72 grams, 13.9 cm)

Comprising a rectangular headplate with openwork masks to the outer edge, imprint of fabric to the central panel; shallow bow with three vertical ribs; lappets below the bow, footplate developing to a triangular facing mask with domed eyes and concentric triangles, openwork finial with pelta-shaped panel; pin-lug and catch with ancient repair to the reverse.

£1,000 - 1,400

PROVENANCE:

Found Seaham, Co Durham, UK.

Property of a Durham private collector.

289

LARGE ANGLO-SAXON BRONZE CRUCIFORM BROOCH

LATE 5TH-6TH CENTURY A.D.

5 in. (68 grams, 12.6 cm)

Comprising a rectangular headplate with a central trapezoidal panel, three radiating collared D-section knops; a deep carinated bow with chamfered step at each end; trapezoidal foot with lateral coiled lappets; gusseted collar and carinated horse-head finial with scrolled nostrils; ferrous mass to reverse with impressed fabric, catchplate.

£800 - 1,000

PROVENANCE:

Found Seaham, Co Durham, UK.

Property of a Durham private collector.

LARGE ANGLO-SAXON BRONZE GREAT SQUARE-HEADED BROOCH

LATE 5TH-6TH CENTURY A.D.

6¼ in. (136 grams, 16 cm)

Comprising a rectangular headplate with outer band of Style I masks, raised border and inner panel of scrolls with two annular cells to accept inlay; shallow bow with raised median rib and corrugated surface, outward facing mask at each end; footplate with lateral lappets featuring profile horse-heads; median bar with central cell, lozenge panels with scrolled border and masks in the lateral lugs; mask at the lower end with raised triangle; scars from pin-lugs and catch to the reverse.

£4,000 - 6,000

PROVENANCE: Found Seaham, Co Durham, UK. Property of a Durham private collector.

FOOTNOTES:

The brooch seems to belong to the group IV of the great squared brooches. Usually, they have a large ‘rampant beast’ in the footplate upper borders, and a large mask in the terminal lobe, of rather more varying pattern.

ANGLO-SCANDINAVIAN VIKING BRONZE STIRRUP APEX MOUNT

10TH-11TH CENTURY A.D.

2 in. (35.2 grams, 52 mm)

Broad and shallow with narrow pierced ledge to reverse, Williams’s Class B; openwork scene of two quadrupeds addorsed with legs resting on the outer edge of the frame and heads turned towards the median column; three loops to the curved upper edge.

£600 - 800

PROVENANCE:

Found Spalding, Lincolnshire, UK.

293

‘THE BRADBOURNE HORSES’ ANGLO-SCANDINAVIAN VIKING BRONZE RINGERIKE STIRRUP APEX MOUNT

1000-1100 A.D.

4 in. (47 grams, 53 mm)

Rectangular mount with flange to each side of the reverse at the base, two mounting holes; upper edge formed as two addorsed horseheads and median pierce lug; shallow incised line following the outer edges of the heads and necks, with suggestion of a bridle; Ringerike style.

£300 - 400

PROVENANCE:

Found whilst searching with a metal detector in Bradbourne, Derbyshire Dales, East Midlands, UK.

294

ANGLO-SCANDINAVIAN VIKING GILT BRONZE URNES STIRRUP

APEX MOUNT

11TH CENTURY A.D.

2 in. (17.8 grams, 55 mm)

Heater-shaped in profile with openwork Urnes Style interlace, holes for attachment pins to lower corners, beast-head finial to apex; remains of attachment rivets and strap to reverse.

£400 - 600

PROVENANCE:

Found Stowmarket, Suffolk, UK.

295

ANGLO-SAXON BRONZE DOUBLE BEAST-HEADED MOUNT

6TH CENTURY A.D.

1½ in. (13.7 grams, 38 mm)

Pelta-shaped in plan, formed as a vertical column with flared base developing to a transverse crescent ending in dragon-heads with open jaws and curled upper lips placed against the column; punched pellet and crescent detailing.

£300 - 400

PROVENANCE:

Found Barton Mills, Suffolk, UK.

LARGE ANGLO-SAXON GILT BRONZE SAUCER BROOCH

LATE 5TH-6TH CENTURY A.D.

1 in. (20.4 grams, 37 mm)

Discoid in plan with raised rim and inner ridge decorated with notches, six radiating arms with notch detailing and interstitial chevrons; central knop rivetted from reverse; remains of catch to reverse.

£1,200 - 1,700

PROVENANCE:

Found Seaham, Co Durham, UK. Property of a Durham private collector.

297

‘THE STATHERN’ ANGLO-SAXON ENAMELLED BRONZE HANGING BOWL MOUNT WITH MILLEFIORI INLAYS

6TH-7TH CENTURY A.D.

1½ in. (11.60 grams, 40 mm)

Discoid and hollow to the reverse with raised rim and suspension hook base; panel of seven La Tène spirals with an enamelled field, commas between, central raised ring with three equally spaced millefiori glass inlays; extremely rare.

£1,000 - 1,400

PROVENANCE:

Found whilst searching with a metal detector near Stathern, Leicestershire, UK, in February 2005.

SAXON SILVER-GILT PENDANT WITH ENTWINED BEASTS

5TH-6TH CENTURY A.D.

1 in. (3.96 grams, 42 mm)

Flat in section with reeded gilt borders, central knotwork motif; probably a portion of an ornamental mount, with a later applied loop for suspension. [No Reserve]

£400 - 600

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

299

ANGLO-SAXON GLASS AND AMBER BEAD NECKLACE STRING LATE 5TH-6TH CENTURY A.D.

10¼ in. (32 grams, 26 cm)

Including annular, tubular, and other types, a large amber tabular bead to the centre.

£400 - 600

PROVENANCE:

Found Seaham, Co Durham, UK. Property of a Durham private collector.

300

LARGE PRE-VIKING GOLD BRACTEATE MEDALLION WITH INTERLACED SNAKES ‡ 5TH-6TH CENTURY A.D.

2 in. (13.04 grams, 61 mm)

Executed using the repoussé technique, depicting interlaced snakes or possibly Jörmungandr, the world serpent; applied suspension loop with repoussé chevrons and pellets, faux ropework border around the whole.

£5,000 - 7,000

PROVENANCE:

From the collection of a North American gentleman, formed in the 1990s. Accompanied by an academic report by Dr Raffaele D’Amato.

FOOTNOTES:

The bracteate belongs to the main type D, showing an image of tetramorphic monsters. Probably here the representation refers to Jörmungandr, the serpent of Midgard, son of Loki and killer of Thor, protagonist of Ragnarok - the downfall of the gods. The art of the bracteate medallions is one of the few contemporary sources for the pre-Christian religion of the Nordic countries. It demonstrates that ancient Germanic mythology, although known from later texts, was built on a tradition dating back to at least the 5th-6th centuries A.D. The function of these medallions was linked to the social position of the wearer in Germanic society.

301

VIKING GOLD SUN-WHORL BRACTEATE PENDANT 8TH-10TH CENTURY A.D. 1 in. (2.54 grams, 27 mm)

Scalloped circumference and repoussé central ‘kolovrat’ design, mounting loop above.

£1,000 - 1,400

PROVENANCE: From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

302

PRE-VIKING GOLD FILIGREE AROMA BUCKET PENDANT CIRCA 4TH-7TH CENTURY A.D. in. (1.49 grams, 15 mm)

Miniature drum-shaped vessel with strap handle, the body decorated with granule clusters. [No Reserve] £400 - 600

PROVENANCE: Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

303

LANGOBARDIC GOLD BISHOP’S RING WITH AMETHYST

7TH-8TH CENTURY AD.

1 in. (11.38 grams, 34.70 mm overall, 17.74 mm internal diameter (approximate size British M½, USA 6¼, Europe 13.09, Japan 12))

A finely crafted ring featuring a prominent square bezel adorned with stylised crucifixes, flanked by outward-facing birds with hooked beaks and large ring-and-dot eyes, the bezel set with a polished amethyst pebble; keeled decorative hoop with three integral collars at the base. £15,000 - 20,000

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, UK.

FOOTNOTES:

The Langobards (or Lombards) were a Germanic people who invaded and ruled much of the Italian Peninsula from 568 to 774 AD. Their kingdom, known for its fusion of Germanic and Byzantine artistic traditions, persisted until the Carolingian conquest under Charlemagne. A Bishop’s ring is a large, often ornate ring worn by bishops as a symbol of their office and spiritual authority. Traditionally, it signifies the bishop’s commitment to the Church and is considered a mark of his episcopal dignity.

304

MIGRATION PERIOD GOLD COSMETIC SET WITH GARNETS

EARLY 5TH CENTURY A.D.

4½ in. (23.11 grams, 11.4 cm)

Comprising a beaded wire suspension loop with two attachments: long-handled spoon with small bowl; rectangular-section pick with hooked end; each with a teardrop-shaped panel with beaded wire rim to each face, the outer ones each with an inset garnet cloison, the rear ones set with a glass cabochon.

£4,000 - 6,000

PROVENANCE: Acquired on the UK art market. Private collection, London, UK.

FOOTNOTES:

A similar implement, silver and gold-plated, was found in the grave of a small child in Untersiebenbrunn, in Lower Austria. These are precious items that belong to the polychrome style of the 5th century Roman jewellery adopted by so-called ‘barbarians’.

305

VIKING PERIOD GOLD AND CRYSTAL PENDANT WITH BEAD DROP

CIRCA 10TH-12TH CENTURY A.D.

3 in. (21.69 grams, 79 mm)

Irregular barrel-shaped crystal with lozengiform gold base, braided strip from each arm extending to the bell-shaped cap with punched pellet and triangle motifs; braided filigree collar and loop, thick gold rod suspension loop; underside with short dangle, amethyst and glass beads. [No Reserve]

£2,000 - 3,000

PROVENANCE:

Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

FOOTNOTES:

In Birka grave 1148B, a similar piece was found in a warrior cremation grave. It was a fragment of a grey slate whetstone, with a rivetted, groove-decorated bronze fitting, which ends in a bronze carrying ring. These items were worn as pendants.

LARGE MIGRATION PERIOD GOLD RING WITH GEMSTONES

EASTERN EUROPE, 4TH-5TH CENTURY A.D.

1 in. (22.03 grams, 29.00 mm overall, 21.65 mm internal diameter

(approximate size British U, USA 10, Europe 22.52, Japan 21))

Wide hoop with volute decoration on the shoulders, two triangular settings on both shoulders, one side with garnet cloisonnés separated

by a narrow bar, an applied strip of sheet-gold to the inside of the ring behind the setting; large oval bezel set with nicolo.

£10,000 - 14,000

PROVENANCE: with Fran Sternberg AG, Zurich, Sale XXVI, 16 November 1992, no.689. Private collection, UK.

307

VIKING SILVER STAMPED SHIELD PENDANT 8TH-10TH CENTURY A.D.

1¾ in. (6.38 grams, 46 mm)

A horse harness pendant executed in repoussé technique, a dome to the centre with punched annulets and other details; applied loop.

£300 - 400

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

308

VIKING PERIOD SILVER TEMPLE RING PAIR CIRCA 10TH-12TH CENTURY A.D.

1¾ - 1 in. (19.6 grams total, 45-47 mm)

Matching pair with crescentic hoops and granule decoration. [2, No Reserve]

£300 - 400

PROVENANCE:

Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

309

VIKING SILVER PENDANT WITH ROCK CRYSTAL 8TH-10TH CENTURY A.D.

2 in. (7.55 grams, 51 mm)

With hexagonal-section crystal bead modified for use as a pendant with the addition of a silver collar bearing filigree ropework; thick wire suspension loop with ends twisted around the shank.

£400 - 600

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

310

VIKING SILVER ELFSHOT PENDANT WITH STONE ARROWHEAD 9TH-11TH CENTURY A.D. AND EARLIER

1 in. (2.43 grams, 34 mm)

An amulet with a silver cap securing an arrow-shaped flint insert. [No Reserve]

£400 - 600

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

FOOTNOTES:

This amulet was believed to offer protection against ‘Elfshot’. The attack of elves was believed responsible for mysterious suffering in men and livestock: sudden shooting pains localised to a particular area of the body, such as in rheumatism, arthritis, or muscle stitches or cramps. Elves were thought to shoot darts or arrows where such pains had no obvious external cause. Belief in elfshot persisted into the 20th century in rural areas, and as proof, country folk would sometimes find small arrowheads (the remains of Neolithic or Mesolithic flints, or naturally-occurring spear-shaped stones) that were believed to be the magical weapons that caused the afflictions. Belief in elfshot began in the Pagan Germanic period.

311

LARGE VIKING PERIOD BEAR’S TOOTH PENDANT

9TH-12TH CENTURY A.D.

3 in. (42.5 grams, 94 mm)

A large bear’s tooth set into a copper-alloy pendant setting, decorated with corded wire and a circumferential frieze of filigree loops, sturdy suspension loop to the cap.

£800 - 1,000

PROVENANCE: Acquired 1971-1972.

From the collection of the vendor’s father. London, UK, collector. with TimeLine Auctions, Essex, 6 September 2022, no.394. Private collection, London, UK.

in. (367 grams, 120 cm)

Comprising: openwork trichinopoly chain with sleeve terminals each with a loop and bar closure; spherical rock crystal pendant with silver wire cage and mounting cap.

£7,000 - 9,000

PROVENANCE: Private collection, Europe, mid-1990s. Private collection, UK.

LARGE VIKING SILVER INTERLACED CHAIN WITH AMULETIC ROCK CRYSTAL PENDANT

10TH CENTURY A.D.

47¼

314

HEAVY VIKING TWISTED SILVER BRACELET CIRCA 10TH CENTURY A.D.

3 in. (128 grams, 76 mm)

Penannular in form with tapering ends, ropework wire applied between the rounded rods. [No Reserve]

£600 - 800

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

316

VIKING STAMPED SILVER SPOON WITH LOOP 8TH-10TH CENTURY A.D.

3½ in. (11.3 grams, 90 mm)

Comprising a broad shallow bowl and a flat triangular handle with stamped triangle ornament; suspension loop with coiled ends.

£600 - 800

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

313

VIKING STAMPED SILVER BRACELET CIRCA 10TH CENTURY A.D.

2¾ in. (50 grams, 71 mm)

With a broad domed profile, a repeated pattern of punched squarewith-pellet motif, and a band of pellets at the equator. [No Reserve]

£600 - 800

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

315

VIKING AGE DECORATED SILVER PENANNULAR BROOCH ‡ 12TH CENTURY A.D.

1¾ in. (14.4 grams, 46 mm)

Featuring domed terminals with apex granules and dense interlace and pellet decoration in relief, punched decoration to the free-running pinhead.

£500 - 700

PROVENANCE:

From the collection of a North American gentleman, formed in the 1990s.

FOOTNOTES:

Penannular brooches with facetted terminals were part of the famous Kostivere hoard, found in Estonia, deposited around 1220-1230 during the wars of Estonians against the Germans and Danes. The annular brooches with animal ornaments in Urnes style were considered by the archaeologists to be definitely Scandinavian, more specifically from Gotland.

317

VIKING AGE SILVER GRIPPING BEASTS PENDANT ‡

10TH CENTURY A.D.

1¾ in. (12.4 grams, 43 mm)

Composed of an openwork discoid body with integral T-shaped tubular loop; raised gusseted rim enclosing a pair of S-shaped beasts with billetted bodies and comma-shaped tails, enmeshed gripping paws clutching the rim and their own bodies.

£2,000 - 3,000

PROVENANCE:

Acquired on the European art market in the 1990s. Ex property of a German gentleman.

FOOTNOTES:

Despite the long period of overlap of Borre and Jellinge art styles, there are only a few examples of their fusion. The principal and most popular motif of the Borre style displays an animal with gripping paws, usually enmeshed in a circular frame, while a typical Jellinge style beast is more slender with a long, S-shaped body and ribbon decoration. The most famous example of a pendant featuring a fusion of these styles was found in a hoard from Vårby (Sweden), formed as a circle with a pair of Jellinge-style beasts with ribbon-shaped bodies in profile and heads with open jaws and extended tongues; however, each is provided with gripping paws and an enmeshed body, which are typical features of the Borre style. A few examples of these pendants were also found near the important trading settlement of Gnezdovo, near Smolensk, Russia.

319

VIKING SILVER FILIGREE BIRD PENDANT 9TH-11TH CENTURY A.D.

1 in. (5.62 grams, 36 mm)

Hollow-formed with aviform body, applied filigree loops with granulated detailing, integral tubular bale with stylised face.

£1,800 - 2,400

PROVENANCE:

Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

318

VIKING PERIOD SILVER FILIGREE PENDANT

CIRCA 9TH-11TH CENTURY A.D.

1½ in. (6 grams, 40 mm)

Discoid with applied filigree looped bands, granules and other detailing. [No Reserve]

£600 - 800

PROVENANCE:

Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

320

VIKING PERIOD SILVER FILIGREE TEARDROP PENDANT CIRCA 9TH-11TH CENTURY A.D.

2 in. (7.8 grams, 53 mm)

Plano-convex in section and hollow-formed, with transverse channel to accept a suspension loop; applied bands of filigree, granules and bosses. [No Reserve]

£800 - 1,000

PROVENANCE:

Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

321

30¾ in. (252 grams total, 78 cm long)

VIKING AGE BRONZE CHAINED EQUAL-ARM BROOCH SET ‡ CIRCA 10TH CENTURY A.D.

Each link in the chain composed of three separate hoops, the equalarm brooches with decoration in high-relief and remains of pin-lugs and catchplate to reverse.

£800 - 1,000

PROVENANCE:

From the collection of a North American gentleman, formed in the 1990s.

322

VIKING BRONZE PROTECTIVE ARMLET

9TH-10TH CENTURY A.D.

4 in. (216 grams, 11.2 cm)

323

Omega-shaped in plan with raised flange rim to both edges; bands of punched ornament to each face.

£800 - 1,000

PROVENANCE: Acquired on the UK art market, 1995-2000s. Private collection, London, UK.

VIKING ORPGARD TYPE BRONZE BRACELET 9TH-10TH CENTURY A.D.

3 in. (84.1 grams, 79 mm)

Broad and penannular in profile with raised ribbing to the outer face. [No Reserve]

£300 - 400

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

324

VIKING BRONZE BRACELET WITH BEAR’S HEAD TERMINALS 8TH-10TH CENTURY A.D.

2¾ in. (88.7 grams, 69 mm)

Flat-section with low-relief reserved zigzag and longitudinal bands, each end with a bear’s head and forepaws in plan. [No Reserve]

£400 - 600

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

325

VIKING BRONZE BOAR’S HEAD BROOCH WITH OPENWORK BEAST MOTIF

9TH-10TH CENTURY A.D.

2 in. (4 in.) (109 grams, 56 mm (162 grams total, 10.5 cm including stand))

Hollow-formed with openwork decorative outer surface attached to a plain back-plate with one spring-lug and catchplate intact; the upper face divided by a heavy segmented median rib and zoomorphic ornament in the outer panels, arranged symmetrically along the rib with a similar transverse band; the corners of the wider end reinforced with vertical posts ending in heavy lobed ‘ears’; the side panels decorated with zones of interlace zoomorphic ornament and the upper-end panel with a continuation of the median rib, traces of ornamental interlace; the lower-end panel plain.

£2,500 - 3,500

PROVENANCE:

Acquired on the UK art market, 1995-2000s. Private collection, London.

327

VIKING AGE GILT BRONZE BOAR’S HEAD BROOCH ‡ 10TH-11TH CENTURY A.D.

1 in. (37 grams, 48 mm)

Retaining an articulate pin to reverse and geometric detailing to each face.

£600 - 800

PROVENANCE:

From the collection of a North American gentleman, formed in the 1990s.

326

VIKING AGE BRONZE TORTOISE BROOCH WITH RAVENS ‡

9TH-10TH CENTURY A.D.

3 in. (62.6 grams, 80 mm)

With domed elliptical body and narrow flange, high-relief palmette ornament and omega-shaped panels and opposed ravens with curved beaks.

£600 - 800

PROVENANCE:

From the collection of a North American gentleman, formed in the 1990s.

FOOTNOTES:

The silvery appearance of the brooch is probably due to a high proportion of tin in the bronze alloy.

328

SCANDINAVIAN VIKING BRONZE BOX BROOCH ‡ 9TH-10TH CENTURY A.D.

2 in. (93 grams, 53 mm)

Featuring a squat cylindrical body, ornate cruciform motif to upper face, zoomorphic panels to the side wall; hollow-formed; remains of pin lug and catchplate to reverse.

£1,500 - 2,000

PROVENANCE:

From the collection of a North American gentleman, formed in the 1990s.

329

VIKING BRIDLE STRAP JUNCTION WITH BEAST HEADS ‡ 10TH-11TH CENTURY A.D.

2½ in. (30 grams, 63 mm)

Comprising a rectangular suspension loop with D-section shank and mask below, two flanking arms each with a zoomorphic (bear?) face, one terminating in a wolf’s head and the other in a bird’s head; small loops below the terminals.

£800 - 1,000

PROVENANCE:

Found Bardney, Lincolnshire, UK, in the early 1990s.

FOOTNOTES:

This bridle junction is decorated in the Anglo-Scandinavian Ringerike style. On each side of the central hole is an outward facing animal, their beaked heads positioned on the outer edges. The details on the face are carried out in moulded relief as well as engraving.

330

LARGE SCANDINAVIAN VIKING BRONZE SHIELD PENDANT

8TH-10TH CENTURY A.D.

4¾ in. (60 grams, 12.1 cm)

A broad sheet-bronze disc horse harness pendant with band of repoussé bosses to the edge, applied cross-bands to the obverse and central boss; applied attachment loop with tremolier detailing. [No Reserve]

£300 - 400

PROVENANCE:

From the private collection of a London gentleman, from his grandfather’s collection formed before the early 1970s.

331

ANGLO-SCANDINAVIAN VIKING BRONZE FIVE-LOBED POMMEL

10TH-11TH CENTURY A.D.

2 in. (48.7 grams, 50 mm)

Of Petersen’s Type S (Wheeler Type III) with five graduated lobes; hollow, the lower face a swept arc; pierced through the tallest lobe to accept the tang of the sword’s blade. [No Reserve]

£300 - 400

PROVENANCE: Found Norfolk, UK.

332

VIKING AGE BRONZE SWORD SCABBARD CHAPE COLLECTION ‡ 10TH-12TH CENTURY A.D.

1¾ - 3 in. (118 grams total, 46-75 mm)

Comprising: a small and narrow type (Paulsen’s Gruppe I 2, Untergruppe d) with an openwork panel to each face filled by a crossshaped motif with curved cross-bar, and a dentilled upper edge to the mouth; a tongue-shaped type (Paulsen’s Gruppe I 1) with an openwork centre and Ringerike style bird formed with looped bands, pellets to the pinions, a triangular in plan head joined to the inner faces of the ropework border forming the upper edge of the chape, with a wolf’s head at the apex and stepped knop finial (apex and lower end of the chape damaged); two of the same type (Gruppe I 1) with a pair of scrolls in the central void and a ‘knot’ to the apex’, one with ropework detailing and a wolf’s head; a broad D-shaped plaque with a plain reverse plate riveted in place, guilloche band to the outer edge and interlaced vines to the centre. [5]

£700 - 900

PROVENANCE: From the collection of a North American gentleman, formed in the 1990s.

VERY LARGE ANGLO-SCANDINAVIAN VIKING BRONZE HORSE

HARNESS LINK

11TH CENTURY A.D.

4¼ in. (81 grams, 10.8 cm)

Lozengiform in plan with pierced bulb to opposed angles, one with ring in situ; obverse with reserved rim, beast in profile with bent forelegs and gaping jaws, tail curled above the back, attacking a serpentine creature with segmented body and three-toed claws.

£3,000 - 4,000

PROVENANCE: Found Lincolshire, UK.

FOOTNOTES:

Openwork rhombic mounts were found in various Scandinavian places. One was found, for example, in a sunken hut at Sebbersund in Northern Jutland, and dated to the passage of 10th-11th century A.D. An openwork mount depicting a four-legged animal from Lund was excavated from a pit in a cultural deposit with dendro-chronological dates between 1060-1070.

334

MEDIEVAL GOLD RING BROOCH WITH SAPPHIRES FRANCE, 14TH CENTURY A.D. OR LATER ¾ in. (6.11 grams, 20 mm)

An annular brooch set with six cabochon sapphires, the spaces in between engraved with annulets, diamonds and a fleur-de-lis at the centre, a flower motif on each side of the pin.

£1,000 - 1,400

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, UK.

335

MEDIEVAL GOLD RING BROOCH WITH GARNETS 13TH-14TH CENTURY A.D.

¾ in. (1.74 grams, 18 mm)

An annular brooch set with decorative oak leaves, tall collet at the top set with a garnet cabochon, dagger-shaped pin.

£250 - 350

PROVENANCE: Private collection, UK.

336

MEDIEVAL SILVER-GILT BROOCH WITH GARNETS 13TH-14TH CENTURY A.D.

1 in. (5.42 grams, 27 mm)

An annular brooch decorated with oak leaves surrounding tall collets set with garnet cabochons, dagger-shaped pin.

£500 - 700

PROVENANCE: Private collection, UK.

FOOTNOTES:

The brooch would have been a deeply romantic gift combining the garnets, which are emblematic of love and the oak leaves, which symbolised strength and stability, as well as bearing strong religious significance.

337

LARGE MEDIEVAL SILVER-GILT RING WITH LION INTAGLIO

14TH-16TH CENTURY A.D.

1¼ in. (9.96 grams, 31.53 mm overall, 19.51x23.08 mm internal diameter (approximate size British V½, USA 10¾, Europe 24.40, Japan 23))

With a broad hoop, each shoulder decorated with a pointillé geometric motif, octagonal-section domed bezel with segmented upper and corrugated sidewall; inset nicolo with advancing lion motif. [No Reserve]

£300 - 400

PROVENANCE: with Archaeologia, Switzerland, before 1983.

Ex private North American collection. London private collection, 2016.

338

‘THE SOMERSHAM’ MEDIEVAL INSCRIBED SILVER-GILT SCROLL MOUNT OR BADGE 13TH-15TH CENTURY A.D.

1¼ in. (3.69 grams, 32 mm)

Scroll-shaped mount with canted ends, mounting lugs to reverse; obverse with two incuse panels, each with a line of reserved text: ‘+MTN V/EIRT R’ – not obviously meaningful, though ‘VEIRT’ is an acceptable Anglo-Norman spelling for mod.Fr. verité, ‘truth’.

£400 - 600

PROVENANCE: Found Somersham, Suffolk, UK, declared as treasure under the Treasure Act with reference no.2022T849 and subsequently disclaimed by the Crown.

Accompanied by a copy of the British Museum’s Portable Antiquities Scheme (PAS) report no.SF-B47EF7.

Accompanied by a copy of the Department for Digital, Culture, Media & Sport Treasure Act receipt dated 9 September 2022.

Accompanied by a copy of a letter from the British Museum explaining that the Crown’s interest in the object has been disclaimed.

339

MEDIEVAL GOLD RING BROOCH WITH GARNETS AND ‘LET US LIVE AS ONE SOUL’ POSY INSCRIPTION 13TH-14TH CENTURY A.D.

1½ in. (8.76 grams, 38 mm)

An annular brooch with pelletted edges, six garnet cabochons adorning the brooch, each in a tall closed setting; inscribed on the front ‘VIVAMTINVNOANI’, the reverse inscribed with ‘AMORIVNTVANVNTVI’ divided between two palmettes.

£6,000 - 8,000

PROVENANCE:

Private English collection, formed between the late 1970s and early 1990s. Private collection, UK.

340 ‘THE OTTERINGTON HALL’ MEDIEVAL INSCRIBED ICONOGRAPHIC GOLD RING WITH SAINT CHRISTOPHER 1450-1550 A.D.

¾ in. (3.26 grams, 18.91 mm overall, 16.51 mm internal diameter (approximate size British I½, USA 4½, Europe 8.07, Japan 7))

With a rectangular bezel engraved with Saint Christopher carrying the Christ child on his back, each larger shoulder facet with engraved blackletter texts ‘pur’ and ‘bone’ meaning ‘for good (fortune)’/ ‘for the best’; a foliate design present between the bezel and text, and each word followed by an engraved flower.

£4,000 - 6,000

PROVENANCE:

Found whilst searching with a metal detector in South Otterington, Hambleton, North Yorkshire, UK, on 28 November 2024, by James Sweeney; declared as a Treasure under the Treasure Act with reference no.2024 T1402, and subsequently disclaimed by the Crown.

341 MEDIEVAL GOLD POSY RING INSCRIBED ‘WITH LUCK’ 14TH CENTURY A.D.

¾ in. (1.74 grams, 21.27 mm overall, 18.81 mm internal diameter (approximate size British Q, USA 8, Europe 17.49, Japan 16))

D-shaped in section with blackletter legend ‘+ala ven ture’ (a l’aventure, meaning with luck/ perhaps/ if possible) and fronds between.

£1,200 - 1,700

PROVENANCE: Acquired on the UK art market in the 1980s. From an East Anglian private collection.

342 ‘THE HARRIETSHAM’ MEDIEVAL GOLD AND GEM SET RING SOUTHERN ENGLAND, 1300-1400 A.D.

¾ in. (1.37 grams, 22.77 mm overall, 17.26 mm internal diameter (approximate size British N, USA 6½, Europe 13.72, Japan 13))

Comprising a narrow shank and cup bezel with inset garnet cabochon; straightened. [No Reserve]

£800 - 1,000

PROVENANCE:

Found whilst searching with a metal detector near Harrietsham, Maidstone, Kent, UK, on 5th April 2024; declared as Treasure and susiquently disclaimed with Treasure Reference no.2024 T639.

343

MEDIEVAL GOLD BROOCH WITH TURQUOISE AND PEARLS

13TH-14TH CENTURY A.D.

½ in. (1.29 grams, 14 mm)

A delicate annular brooch set with three turquoise cabochons and three seed pearls, the space between the cells separated with a slender collar.

£500 - 700

PROVENANCE: Private collection, UK.

344

MEDIEVAL BRONZE SEATED FIGURE OF MADONNA AND CHILD ENGLAND, 14TH CENTURY A.D.

1½ in. (24.6 grams, 40 mm)

Modelled in the half-round, Mary crowned and seated, holding the infant Jesus on her left knee, the infant having his right hand raised in blessing gesture.

£450 - 650

PROVENANCE: Private collection, UK.

345

POPE SIXTUS V BRONZE PENDANT DATED 1585 A.D.

1¼ in. (4.7 grams, 30 mm)

Ellipsoid bronze bifacial pendant with three radiating lugs and pierced lug above; reverse with kneeling nimbate figure (St. Jerome) in anklelength robe, one hand extended and open book below, lion’s head to his rear; obverse with profile bust in cassock and camauro (papal cap), legend above ‘SIXTVS V PONS MAX A I’.

£400 - 600

PROVENANCE:

Found Tuesday 1st April 2025 in Claydon, Suffolk, UK.

Accompanied by a copy of the British Museum’s Portable Antiquities Scheme (PAS) report no.SF-92A7E3.

346

MEDIEVAL PEWTER PILGRIM’S BADGE WITH CROSSES

13TH CENTURY A.D.

1 in. (5.06 grams, 43 mm)

Styled as a church building surmounted by three crosses, raised hatching to one face, and a scene depicting the Virgin and Child beneath a starry sky to the other; four attachment loops remaining. [No Reserve]

£300 - 400

PROVENANCE:

Ex European collection, 1990s. Ex Cambridgeshire, UK, collection.

347

MEDIEVAL GILT COPPER DEVOTIONAL RELIQUARY PENDANT GERMAN, 15TH CENTURY A.D.

2¼ in. (57.2 grams, 57 mm)

A large circular openwork pendant with a fitted lid, the lid depicting Christ between two angels holding a shroud; the reverse with seated and crowned Virgin Mary holding infant Jesus on her lap.

£700 - 900

PROVENANCE: Private collection, UK.

348

MEDIEVAL LEAD GREGORY X PAPAL BULLA

1271-1276 A.D.

1 in. (34.4 grams, 37 mm)

The obverse depicting the busts of St Peter and St Paul each within a compartment defined by pellets; cross pattee supported on a staff between the busts; at the top of the bulla in the centre, legend ‘SPASPE’ (abbreviations for St Paul and St Peter); reverse inscribed in Lombardic script in three lines ‘GRE/GORIVS./PP. X’, with an omega above the letters ‘PP’ and curlicue after ‘X’; both obverse and reverse faces with a pelletted perimeter.

£300 - 400

PROVENANCE:

Found Norfolk, UK.

Accompanied by an illustrated report from Andy Flowers KLMD dated November 2013.

349

MEDIEVAL RELIQUARY BUST OF SAINT JOHN THE BAPTIST

15TH CENTURY A.D.

13 in. (2.8 kg total, 33 cm including stand)

Reliquary bust of Saint John the Baptist carved in walnut wood with applied pigments and gilding; inset glass panels to brow and chest with ink on vellum; the inscriptions (i) in the chest; ‘En cette teste a des cheveux nostre du [anet?] [chef?] lame Jehan baptiste …Et ces reliques… [dente?] saincte [agnes? agneau?]’ (in this head are some hairs from [...] John the Baptist ... and these holy relics’; (ii) In the head; ‘ap…e sancti joha(n)nis bap… (...of Saint John the Baptist)’; separate shoulders partly detached; mounted on a custom-made stand. [No Reserve]

£3,000 - 4,000

PROVENANCE:

Private collection, France, 2013.

350

MEDIEVAL BAS RELIEF REPRESENTING A GENTLEMAN

ILLUSTRATING AN ALLEGORY OF AVARICE

NETHERLANDS, 16TH CENTURY A.D.

13 x 10 in. (694 grams, 33.2 x 27.1 cm)

Carved in the half-round, clean-shaven male figure wearing a floppy chaperon hat, clutching a bulging sack of coins to his chest, with some stray coins on the surface of the table below; mounted on a velvet-covered board in a carved wooden frame. [No Reserve]

£2,000 - 3,000

PROVENANCE:

Private collection, Spain, until 2024.

352

MEDIEVAL STONE FEMALE HEAD FRANCE, 14TH CENTURY A.D.

9½ in. (3.11 kg total, 24 cm high including stand)

Carved in the half-round with brow-band and chin-band; narrow triangular face with slit mouth and lentoid eyes; lateral bunches of hair beneath the wimple; mounted on a custom-made stand.

£1,000 - 1,400

PROVENANCE: Private collection, UK.

351

ENGLISH MEDIEVAL SILVER SEAL MATRIX FOR HARVEY, RECTOR OF THE CHURCH OF SWAINSTHORPE MAGNA

EARLY 15TH CENTURY A.D.

1 in. (5.29 grams, 24 mm)

An ellipsoid seal matrix with a strap to the reverse; incuse motif of crowned Mary seated on a throne with infant Jesus; legend to the edge within pelletted borders ‘*hERVIV’ ECC[’]E SWINThORPE’ MA’ (Harvey, rector of the church of Great Swainsthorpe); later replacement loop to the verso.

£2,000 - 3,000

PROVENANCE:

The Matrix Collection, formed by David Morris since the late 1980s. Found near the site of the church of Saint Mary in October 2002.

Recorded with Norwich Castle Museum, retained for consideration as Treasure and subsequently returned to the finder.

Matrix Collection catalogue no.1036.

Many of the seals within the collection were published in a book titled ‘The Matrix Collection’, by David Morris in 2012.

Accompanied by a copy of the illustrated collection notes.

Accompanied by a copy of Norwich Castle Museum record slip no.9724

SWAINSTHORPE (G. Linton m/d Oct 02).

FOOTNOTES:

The village of Swainsthorpe is situated in Norfolk, some few miles to the south of Norwich and once boasted two churches (one now ruined). Recorded and assessed by the Secretary of State’s Expert Adviser as an object of cultural interest. The RCEWA reviewed an export application and determined that it meets the third Waverley criterion, making it currently non-exportable.

353

ILLUMINATED MEDIEVAL BOOK OF HOURS MANUSCRIPT PAGE FLEMISH, CIRCA 15TH CENTURY A.D.

10½ x 7 in. (142 grams total, 26.6 x 20 including mount, window: 14.5 x 8.8 cm)

Mounted in a bifacial frame to display recto and verso; band of detailed floral ornament to the outer edge with central figure in a short pea-jacket; fifteen-line block of bastarda-script text with Latin text (e.g. Pinguescent speciosa deserti: et exultatione colles accingentur from Psalm 64:13); coloured versals and decorative panels.

£800 - 1,000

PROVENANCE:

Ex Hedwig collection, Brussels, thence by descent, 2000s.

Accompanied by a Belgian cultural export licence.

354

SOUTHERN GERMANY, CIRCA 1500 A.D. 7¾ in. (445 grams, 19.6 cm high)

Comprising a barrel-shaped turned wooden body with a broad neck and an everted rim, a slender stem and stepped base; a single scrolled handle to reverse. [No Reserve]

£6,000 - 8,000

PROVENANCE: Pfyffer von Sltishofen (1914), a well known family in Switzerland. with Artcurial Beurret Bailly Widrner, 2025.

MEDIEVAL BOXWOOD DRINKING CUP

355

PAINTED WOODEN ICON WITH CHRIST PANTOCRATOR WITH SILVER BASMA

RUSSIA, 16TH-17TH CENTURY A.D.

11 x 9¾ in. (983 grams, 29 x 25 cm)

With raised right hand, the left hand holding the Gospel, dressed in red tunic and dark-green garment (himation); covered with an elaborate silver oklad with repoussé and chased decoration, mounting bar to reverse, silver-coloured metal with reserved epigraphic panels and circular void to reveal painted icon beneath; separate two-piece gilt revetment, the upper nimbus with pierced edge and reserved capitals, set with four stones; the background panel bearing reserved tendril ornament; incised Cyrillic inscription ‘Г[оспо]дь Вседержит[ель]’ (= Lord Almighty) on the sides of Jesus; the Gospel with Cyrillic inscription, red foil embroidered in gold; incised three letters in Cyrillic capitals on the gilt nimbus ‘Т И’ (The only living One).

£5,000 - 7,000

PROVENANCE:

Acquired on the UK art market. Private collection, London, UK.

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

356

PAINTED WOODEN ICON WITH SAINTS BORIS AND GLEB RUSSIA, 16TH-17TH CENTURY A.D.

12 x 10 in. (1 kg, 32 x 26.5 cm)

Painted on a wooden board with gessoed surface, tempera on wood panel with kovcheg (recessed central panel on the obverse) executed on a pale yellow ground; Boris and Gleb depicted on horseback wearing Russian 16th century Boyar costume, both with nimbus, each with a lance and pennant; on the right upper corner, God is represented as a half figure making a blessing gesture, inscription in Greek letters ‘ ’ ( = Jesus Christ); rectangular wooden board with mounting slots to reverse.

£2,000 - 3,000

PROVENANCE:

Acquired on the UK art market. Private collection, London, UK.

357

LARGE PAINTED WOODEN ICON OF MOTHER OF GOD OF TIKHVIN

RUSSIA, 16TH CENTURY A.D.

27 x 20¾ in. (4.7 kg, 70.3 x 52.5 cm)

Oil and tempera, depicting the Virgin Mary and the infant Jesus on a plain gold field; Mary wearing a red maphorion mantle over a blue robe, with golden brocade to the hem, in the style of Hodegetria (She who shows the way); the Virgin pointing at Jesus with her right hand, while looking towards the spectator; the infant facing left, resting on Mary’s left arm, dressed in white tunic, wrapped in a red-orange shawl, right hand blessing the mother, left hand extended holding a scroll of the Holy Scriptures, while crossing his legs to reveal the naked sole of one of his feet; very effaced Greek inscriptions in red lettering ‘ ( ( ) = Mother of God)’ flanking Mary’s head; inscription in Greek ‘ ’ ( = Jesus Christ) above the infant; rectangular wooden board with mounting bars to reverse and old collector’s label ‘Vierge Hodigitria, type Tikhvin, Icone russe du 16eme siècle, achetée á Constantinople…chez Monsieur Captain…peinture transmise sur nouvelle planche [Virgin Hodigitria, Tikhvin type, Russian icon from the 16th century, purchased in Constantinople...from Monsieur Captain...painting moved on a new board]’; border with pointillé lozenges and other detailing. £5,000 - 7,000

PROVENANCE: Acquired on the UK art market. Private collection, London, UK.

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

358

PAINTED WOODEN ICON WITH THE VIRGIN OF TENDERNESS RUSSIA, 16TH-17TH CENTURIES A.D.

17¾ x 14 in. (1.78 kg, 45 x 35.5 cm)

Executed in oil and tempera with painted image of nimbate Mary embracing the nimbate infant Jesus; head of Mary with gilded nimbus and russet-coloured veil; the Virgin is shown in half length, wearing a red-gold fringed maphorion with elaborate golden saltires on the shoulders, over a dark blue robe, visible only on the gold embroidered cuffs; the child touching his mother’s chin, holding a furled scroll in his left hand and dressed in blue tunic and wrapped in a gold-orange shawl; on upper left of the Virgin’s head Greek inscriptions ‘ ’ ( ( ) = Mother of God) and beside the Divine Child inscription in Greek letters ‘ ’ ( = Jesus Christ); inside the nimbus of Christ three letters (only two visible) representing the continuous divine self-existence of Christ as God (O N = The Only One who always exists); rectangular wooden board with mounting slots and bar to reverse.

£3,000 - 4,000

PROVENANCE: Acquired on the UK art market. Private collection, London, UK.

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

357

359

MEDIEVAL STAINED GLASS PANEL OF THE ANNUNCIATE VIRGIN WESTERN FRANCE, 1250-1275 A.D.

22 x 9¾ in. (1.92 kg, 53 x 23.5 cm)

Depicting Mary clad in red and green, with a green halo outlining her head, raising her hands in exclamation. [No Reserve]

£3,000 - 4,000

PROVENANCE:

Eglise Saint-Malo, Dinan, France, by repute. Acquired from the above by Mr and Mrs Junius P. Morgan, Princeton, New Jersey, USA.

The Dalva Brothers collection.

Accompanied by a previous cataloguing document.

FOOTNOTES:

Although her garments are uncharacteristic of figures of the Virgin, she nevertheless almost certainly represents Mary as she appeared in a scene of the Annunciation. Both in terms of the choice of colours, and in the style and treatment of her features and drapery folds, she can be compared very closely with window panels from the third quarter of the thirteenth century removed from the Church of Saint Radegonde in Poitiers, including a window now in the Glencairn Museum in Bryn Athyn which shows in its lowermost vignette an identically dressed Virgin riding side saddle on a donkey during her flight into Egypt (fig. 1a-b).

360 MEDIEVAL STAINED GLASS PANEL OF A MAN

13TH CENTURY A.D.

12 in. (370 grams, 30.5 cm high)

Lozenge panel with four rectangular elements and central irregular panel with painted bearded male bust. [No Reserve]

£1,000 - 1,400

PROVENANCE:

The Monastery Stained Glass, 2003.

361

MEDIEVAL STAINED GLASS HEAD OF A MAN NETHERLANDS, BRABANT, 1500-1520 A.D.

12 x 10 in. (838 grams, 30.3 x 27 cm)

Square composite panel with brown-hued vitreous enamel and pink pigment, irregular profile bust set into the diamond quarries. [No Reserve]

£1,000 - 1,500

PROVENANCE: Ancient Arms and Armour, Stained Glass, Coffrets and Furniture. Property from a New York Collection, American Art Association, New York, 23 November 1923, no.110 (as Flemish XV-XVI).

The Monastery Stained Glass, 2004.

Accompanied by a previous cataloguing document.

FOOTNOTES:

The loose, fluid brushwork and fine touches of pink sanguine pigment on this male head place him firmly in the first decades of the sixteenth century, a dating supported further by the visible hemline of the fashionable pleated shirt covering his neck. These are all characteristic features of Southern Netherlandish stained glass from this period, and parallels offered by programs such as the early sixteenth-century windows in Antwerp Cathedral, the c. 1500 glazing scheme at Sint Gummarus church in Lier just outside Antwerp, as well as at sites such as Notre Dame du Sablon in Brussels, suggest an artist working in Brabant in the early years of the century.

362

AQUAMARINE GEMSTONE WITH MUGHAL PRINCESS IN GOLD RING

CIRCA 17TH CENTURY A.D. AND LATER

1 in. (8.26 grams, 25.37 mm overall, 17.74 mm internal diameter

(approximate size British O½, USA 7¼, Europe 15.61, Japan 15))

Ellipsoid in plan intaglio showing a profile female bust with elaborate tiered headdress and collars; set in a later gold ring. [No Reserve]

£4,000 - 6,000

PROVENANCE:

From the private collection of Rev. Nathaniel Evans, Worthing, Sussex, UK, thence by descent.

FOOTNOTES:

These portraits, realised on objects of minor art like glyptics, give a glimpse of the type of jewels and gems realised during the Mughal era. They illustrated the gem connoisseurship of the Mughal Era at its pinnacle.

363

RENAISSANCE GOLD AND ENAMEL RING WITH RUBY WESTERN EUROPE, LATE 16TH CENTURY A.D.

1 in. (5.48 grams, 23.29 mm overall, 17.28 mm internal diameter

(approximate size British M, USA 6, Europe 12.46, Japan 12))

Comprising a slender round-section hoop, expanding shoulders with scrolled tendrils, a quatrefoil bezel with D-shaped ornamented panels, set with a table cut ruby; retaining traces of white enamel.

£4,500 - 5,500

PROVENANCE: Private collection, UK.

364 SPANISH GOLD RING WITH A TABLE-CUT RED SPINEL 16TH-17TH CENTURY A.D.

1 in. (6.93 grams, 24.30 mm overall, 17.05 mm internal diameter (approximate size British M½ , USA 6¼, Europe 13.09, Japan 12))

A substantial ring with a box-shaped bezel set with a table-cut red spinel of deep purplish-red hue, the reverse of the bezel convex with chamfered ends.

£6,000 - 8,000

PROVENANCE: Private English collection, formed between the late 1970s and early 1990s. Private collection, UK.

FOOTNOTES: The box bezel is typical of both Spanish and Islamic goldsmithing traditions. The small pointed projection at the rear of the hoop, however, is not a common feature in Spanish rings but is a distinctive hallmark of Islamic goldwork — a form ultimately rooted in Middle Eastern traditions of the Sasanian, Fatimid, and Mamluk periods. This detail likely reached Spain through the transmission of techniques from the Middle East into Islamic North Africa, and subsequently into the goldsmithing repertoire of al-Andalus. These forms were adapted by Spanish goldsmiths to accommodate the tastes of a Christian clientele, reflecting the deep and enduring influence of Islamic craftsmanship in postReconquista Spain.

365

STUART GOLD ‘I HOPE FOR THE BEST’ POSY RING 1600-1700 A.D.

¾ in. (2.42 grams, 19.66 mm overall, 17.76 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14))

With carinated profile, running tendrils to outer face; inner face with legend in seriffed capitals ‘x PAR x MELIO x SPERO’ (I hope for the best).

£1,200 - 1,700

PROVENANCE:

Found whilst searching with a metal detector in Suffolk, UK, on 1st March 2020. Declared as Treasure and disclaimed by the crown with Treasure reference no.2020 T424; and recorded by the British Museum’s Portable Antiquities Scheme (PAS) with report no.SF-0DE329.

Accompanied by a copy of the report on find of Potential Treasure for HM Coroner.

366

POST MEDIEVAL GOLD ‘FOR VERTUES SAKE I DOE THEE TAKE’ POSY RING 17TH CENTURY A.D. in. (1.99 grams, 22.85 mm overall, 18.80 mm internal diameter (approximate size British Q, USA 8, Europe 17.49, Japan 16))

Comprising hollow-form D-section ring with inscribed ‘For Vertues Sake I Doe Thee Take’ with a maker’s mark ‘PR’.

£800 - 1,000

PROVENANCE: Ex Silbury Coins. Acquired on the UK art market.

367

POST MEDIEVAL GOLD ‘LOUE.IS.A IOYE’ POSY RING 17TH CENTURY A.D.

¾ in. (3.09 grams, 18.65 mm overall, 16.06 mm internal diameter (approximate size British L, USA 5¾, Europe 11.24, Japan 10))

Plain hoop with engraved legend to inner face ‘Loue.is.a ioye’ (Love is a joy). [No Reserve]

£400 - 600

PROVENANCE: Acquired from the early 1980s. From the private collection of a late Gloucestershire, UK, gentleman; thence by descent.

368 GEORGE III GOLD MEMENTO MORI RING WITH SKULL DATED 13 FEBRUARY 1783 A.D.

¾ in. (3.23 grams, 20.3 mm overall, 18.1 mm internal diameter (approximate size British P½, USA 7¾, Europe 16.86, Japan 16))

Hoop with stylised skull to the outer face and incised copperplate legend ‘In memory R F obt 13 Feb 83’ to the inner with indistinct maker’s mark ‘?.S’.

£400 - 600

PROVENANCE: Found Shrewton, Wiltshire, UK.

369

ENAMELLED GOLD HAWKING WHISTLE MUGHAL, 1830-1890 A.D.

1 in. (4.84 grams, 42 mm)

Of tapering cylindrical form, extensively decorated in red, white, green and blue enamel in a foliate and floral design with scalloped borders, plain suspension loop; in 23 carat gold, unmarked, enamel restored; possibly of Indian workmanship.

£5,000 - 7,000

PROVENANCE:

By repute found in the UK.

Acquired Noonan’s, London, UK, 15 September 2020, no.202. Property of a British collector.

FOOTNOTES:

The enamelling is similar to Indian enamelled works from the Mughal period, all of which are rare, and these are regarded as gifts for a royal child. This whistle, however, is reported as originally being found in the UK and may be earlier in date.

370 GOLD RELIQUARY CROSS PENDANT CIRCA 16TH CENTURY A.D.

2 in. (10.59 grams, 52 mm)

Hollow-formed cruciform pendant with rounded end to each arm, applied filigree and granulations; obverse with cells enclosing garnet cabochons, central ring of seed pearls surrounding a large garnet cabochon; hinged suspension loop with filigree detailing.

£1,200 - 1,700

PROVENANCE:

Ex DRG Coins and Antiquities, Bishops Stortford, Essex, UK.

From the private collection of a West London, UK, gentleman, formed since the early 2000s.

371 POST MEDIEVAL GILT ENAMELLED MIRROR CASE DEPICTING MERCURY LIMOGES, EARLY 17TH CENTURY A.D.

5 in. (168 grams, 14.4 cm)

Finely wrought oval mirror case featuring a vivid polychrome enamel scene on a black ground, enclosed within a gilt-copper frame; the front adorned with a depiction of Mercury, identifiable by his winged helmet and caduceus, standing beneath a classical arch flanked by stylised columns and vases of flowers; above the entablature, a canopy held aloft by two snails, while twin pouring ewers crown the upper corners, issuing stylised streams; the architectural and ornamental elements highlighted with translucent and opaque enamel, highlighted with gilding and intricate punchwork; the frame with a guilloche border, surmounted by a pierced rocaille loop with a scallop motif, and terminating below in a turned pendant finial; the sides of the frame engraved with a delicate foliate frieze, the reverse flat-chased with three vases of stylised flowers issuing from scrolled supports, framed above by draped swags, butterflies, and a winged cherubic mask; the case hinges open at the top, the interior, originally fitted with mirrored glass, now partially oxidised but retaining areas of reflection.

£3,500 - 4,500

PROVENANCE: Private collection, France. Private collection, UK.

372 STUART PERIOD GOLD PENDANT WITH PEARL CIRCA 17TH CENTURY A.D.

¾ in. (1.74 grams, 19 mm)

Teardrop pendant with openwork border and loop with inset garnet cloison beneath; central pearl set with gold pin; leaf detailing to reverse.

£500 - 700

PROVENANCE: Ex European collection, 1990s. Ex Cambridgeshire, UK, collection.

373

PAINTED WOODEN ICON WITH THE VIRGIN OF VLADIMIR RUSSIA, 18TH CENTURY A.D.

14 x 12 in. (1.3 kg, 35.7 x 31 cm)

With veiled head and wearing a fringed golden maphorion mantle over a dark blue robe with gold cuffs, inclined towards the infant Jesus supported by her right hand; monograms and titling, on each side of her head ‘ ’ ( ( ) = Mother of God), over the child inscription in Greek letters ‘ ’ ( = Jesus Christ), three letters (only two visible) inside the nimbus of Christ representing the continuous divine self-existence of Christ as God (‘O N’ = The Only One who always exists); rectangular wooden board with mounting bar to reverse; Moscow School; old label on the back with inscription in Dutch ‘A209 Moeder Gods van Wladimir’.

£1,200 - 1,700

PROVENANCE:

Acquired on the UK art market. Private collection, London, UK.

374

LARGE CRETAN WOODEN ICON FRAGMENT OF DEESIS WITH CHRIST PANTOCRATOR AND SAINT JOHN THE PRODROMOS CIRCA 1670 A.D.

22½ in. (1.8 kg, 57 cm)

Depicting Christ Pantocrator and Saint John on his side, hand of Mary visible on the left; the Lord of the Universe represented seated upon a cushioned throne, the right hand in blessing gesture, the left hand holding a Gospel decorated with precious stones; wearing a blue chlamys and red sticharion; Saint John in proskynesis in front of Christ, dressed in a brown vestis talaris; the head of both surrounded by a red halo; later wire for hanging to the reverse with an information sheet in German.

£1,000 - 1,400

PROVENANCE:

Ex Hargesheimen Auction House, Dusseldorf, Germany. Property of a London, UK, gentleman collector.

375

RUSSIAN WOODEN ICON OF THE VIRGIN OF KAZAN WITH SILVER-GILT RIZA CIRCA 1890 A.D.

12 x 10 in. (1.79 kg, 31.5 x 27 cm)

Head of Mary with gilded nimbus and russet-coloured veil, standing infant Jesus similarly nimbate with right hand raised in blessing gesture; the Virgin, with veiled head and mantle inclined towards Jesus, the head inclined left, wearing a red-gold maphorion mantle with elaborate golden saltires on the shoulders, over a dark blue robe; the infant facing away to left, supported on Mary’s right arm, dressed in blue tunic and wrapped in a red orange shawl, right hand extended towards his mother; on right and left of the Virgin’s head Greek inscriptions ‘ ’ ( ( ) = Mother of God) and over the left shoulder of Mary inscription in Cyrillic ‘Казанская Богоматерь Б.М.’ (Mother of God of Kazan); over the child an inscription in Greek letters ‘ ’ ( = Jesus Christ); inside the nimbus of Christ three letters (only two visible) representing the continuous divine self-existence of Christ as God (O N = The Only One who always exists); rectangular wooden board with mounting slots to sides; gilt oklad with draped head-covering and garments, filigree ornament to borders, openwork crown with inset red glass jewel and applied calligraphic panels with enamel detailing.

£6,000 - 8,000

PROVENANCE: Acquired on the UK art market. Private collection, London, UK.

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

375

376

PAINTED WOODEN ICON WITH TOBIAS AND THE ANGEL RUSSIA, 19TH CENTURY A.D. 14 x 11 in. (1.7 kg, 36 x 29 cm)

Rectangular board with mounting bar to reverse; central recess with painted scene of Tobias and angel Raphael in a landscape, city wall to rear; the Archangel dressed in a blue long sleeved tunica talaris, and wrapped in a red chlamys, the wings, shoes and the embroidery of the tunic’s cuffs in gold, his left hand raised with his finger pointing up to the sky; Tobias dressed in a short light green chiton with gold embroidery, red trousers and gold boots.

£1,200 - 1,700

PROVENANCE: Acquired on the UK art market. Private collection, London, UK.

378

NEO-CLASSICAL MARBLE BUST OF A NOBLE LADY CIRCA 18TH-19TH CENTURY A.D.

21 in. (46.6 kg, 55 cm without fixing spike)

Modelled in the round with palla draped to the shoulders and breast, elongated neck and small head with garland to the brow. [No Reserve]

£500 - 700

PROVENANCE:

From a Gloucestershire, UK, collection.

377

SPECIMEN MARBLES FROM THE GRAND TOUR SET INTO A VICTORIAN TABLE TOP LATE 19TH-EARLY 20TH CENTURY A.D.

18¼ in. (14.3 kg total, 46.5 cm including stand)

With a host of Grand Tour marble, porphyry and other specimens set into a circular marble ‘table top’ in the late 19th-early 20th century; with black band border similar to items from the workshop of Francesco Sibilio; mounted on a custom-made display stand.

£1,500 - 2,000

PROVENANCE:

Acquired from Diana Steel just before the end of 1999 in Suffolk, UK. From the private collection of a Somerset gentleman.

379

Private collection, UK. 377 378

RENAISSANCE BRONZE GLOVE RING WITH AN INKWELL ITALIAN, 17TH-18TH CENTURY A.D.

2½ in. (115 grams, 64.40 mm overall, 22.38 mm internal diameter (approximate size British Y½, USA 12¼, Europe 28.2, Japan 27))

Flat-section hoop with raised rim to each edge, tubular shank with frieze of robed figures between decorated arches and with pendant fronds above; domed lid with hinge and catch, stepped rim and chamber.

£700 - 900

PROVENANCE:

380

POST MEDIEVAL MEMENTO MORI COFFIN PENDANT WITH A SKELETON

17TH-19TH CENTURY A.D.

1 in. (11.67 grams, 28 mm)

Rectangular in plan with staple and ring to short edge; hinged lid with chequy border, engraved skull in profile, winged hourglass, crossed long-bones and heart; legend to the edge ‘VIVAMVS MI[.] ORIENTIVM EST’ (for ‘Vivamus, moriendum est’ -we should live [now] for we must die [in time]’); hatched chequy pattern to underside; inner chamber with reserved skeleton on an enamelled field.

£3,000 - 4,000

PROVENANCE: Private collection, UK.

381

POST MEDIEVAL GOLD RING WITH RED GLASS ITALY, 18TH CENTURY A.D.

1 in. (2.13 grams, 23.86 mm overall, 18.06 mm internal diameter

(approximate size British P, USA 7½, Europe 16.23, Japan )15)

With a slender D-section hoop, raised rectangular bezel set with glass paste in a red-foiled setting.

£1,000 - 1,400

PROVENANCE: Private collection, UK.

382

GOLD RING WITH RENAISSANCE SARDONYX CAMEO OF A MUSE ITALY, 16TH CENTURY A.D.

1 in. (6.05 grams, 26.27 mm overall, 19.10 mm internal diameter (approximate size British S, USA 9, Europe 20, Japan 19))

Comprising a wide hoop supporting a large oval bezel with piecrust edge, set with a two-tone sardonyx cameo depicting a profile bust of a female, her hair dressed in elaborate style, garment wrapper over her left shoulder leaving her right breast exposed.

£600 - 800

PROVENANCE: Private collection, UK.

383 NEOCLASSICAL CARNELIAN GEMSTONE WITH BACCHIC PROCESSION

ITALY, 19TH CENTURY A.D.

1½ in. (7.83 grams, 38 mm)

The oval intaglio carved with a lively Bacchic procession: a winged putto driving a goat-drawn chariot, grasping a thyrsus with one hand and guiding the reins with the other; before the chariot, another putto dancing and playing the pipes; set in a gold pendant.

£1,200 - 1,700

PROVENANCE: Private collection, UK.

FOOTNOTES:

The subject reflects the revival of antique themes characteristic of early 19thcentury glyptic art, drawing inspiration from Roman gems and Renaissance engravings after Raphael. Such imagery of putti in Bacchic revels was emblematic of festivity, abundance, and playful triumph, well-suited to the Neoclassical fascination with classical allegory. For a comparison, see the Metropolitan Museum of Art, New York, accession no. 49.97.335, “A frieze arrangement with a putto wearing a laurel crown riding a goat at left and many infants playing musical instruments in front,” Master of the Die after Raphael, c. 1530–60.

384

MOSASAUR ‘MARINE DINOSAUR’ FOSSIL SKULL CRETACEOUS PERIOD, CIRCA 145-65 MILLION YEARS B.P. 17¼ in. (4.1 kg total, upper skull: 43.5 cm long)

A magnificent, full three-dimensional fossil skull of a juvenile Mosasaur Prognathodon with upper and lower mandibles, eye sockets and brain cavity; including jaw teeth and throat teeth; some restoration; with custom-made display stand.

£2,500 - 3,500

PROVENANCE:

From Morocco, West Africa. Ex Cambridgeshire, UK, collection.

385

LARGE IVORY ONYX LAMP 23 in. (12.8 kg total, 60 cm)

Comprising a tall, rectangular body formed of translucent cut slabs of milky stone with contrasting banding; accompanied by a separate light fitting on a stone base with US plug (not tested).

£1,200 - 1,700

PROVENANCE: From Mexico.

Property of a London lady.

386

LARGE IVORY ONYX LAMP 23 in. (13.05 total, 60 cm)

Comprising a tall, rectangular body formed of translucent cut slabs of milky stone with contrasting banding; accompanied by a separate light fitting on a stone base with US plug (not tested).

£1,200 - 1,700

PROVENANCE: From Mexico.

Property of a London lady.

387

MONUMENTAL GEODE SECTION WITH DRUZY QUARTZ STALAGMITES

39¼ in. (68.4 kg total, 100 cm including stand)

A rounded geode section with towering stalagmites with druzy grey quartz; mounted on a custom-made display stand.

£5,000 - 7,000

PROVENANCE:

From Artigas, Uruguay. Property of a London lady.

389 AMETHYST CRYSTAL DISPLAY WITH CALCITE ROSETTE

6¾ in. (4.1 kg total, 17 cm high including stand)

A rounded geode section lined with small prismatic amethyst crystals, to the centre a multi-layered calcite rosettes with druzy hematite; mounted on a custom-made display stand.

£1,200 - 1,700

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

388

EGG-SHAPED AMETHYST CRYSTAL GEODE DISPLAY WITH CALCITE

13½ in. (17.1 kg total, 34.5 cm including stand)

Large, polished section of geode showing prismatic dark purple amethyst crystals on the inner surface with a large mass of calcite to one side, the calcite with clusters of small quartz crystals; mounted on a custom-made display stand.

£2,000 - 3,000

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

390

AMETHYST CRYSTAL GEODE DISPLAY

13¾ in. (10 kg total, 35 cm including stand)

A rounded geode section, the undulating inner surface lined with small prismatic amethyst crystals; mounted on a custom-made display stand.

£1,200 - 1,700

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

392

HALF GEODE WITH GREY QUARTZ AND CALCITE CRYSTALS

11¼ in. (8.75 kg total, 28.5 wide including stand)

A geode section with highly polished edges showing contrasting agate bands, inside lined with small grey quartz crystals, hexagonal formation of colourless to light grey quartz crystals, and intergrown calcite to one side; mounted on a custom-made display stand.

£800 - 1,000

PROVENANCE: From Artigas, Uruguay.

of a London lady.

391

MOUNTED AMETHYST CRYSTAL DISPLAY

11 in. (6.24 kg total, 28 cm high including stand)

Round geode section with polished edges, lined with dark purple amethyst crystals; mounted on a custom-made display stand.

£1,100 - 1,500

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

393

MOUNTED AMETHYST AND QUARTZ CRYSTAL DISPLAY

10¼ in. (2.68 kg total, 26 cm including stand)

A coffee bean-shaped polished geode section showing contrasting agate bands on the edges, showing a thick layer of white and clear quartz with druzy amethyst and rose quartz on the internal surfaces; mounted on a custom-made display stand.

£750 - 950

PROVENANCE:

From Artigas, Uruguay.

394

AMETHYST CRYSTAL DISPLAY WITH FLOWER-SHAPED CALCITE

18½ in. (8.84 kg total, 47 cm including stand)

An unusual display comprising a cut and polished section of geode, lined with well-formed dark amethyst crystals and a flower-shaped cluster of calcite crystals to one side; mounted on a rotating custommade display stand.

£1,500 - 2,000

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

396

POLISHED AMETHYST CRYSTAL DISPLAY WITH CALCITE 14 in. (12 kg, 35.5 cm)

A free-standing polished geode section lined with dark purple amethyst crystals, calcite with small black crystals to one side.

£1,800 - 2,400

PROVENANCE:

395

MOUNTED AMETHYST CRYSTAL DISPLAY

9¼ in. (2.95 kg total, 23.5 cm including stand)

A polished geode section lined with large well-formed prismatic amethyst crystals displaying deep purple colour; mounted on a custom-made wooden display stand.

£1,000 - 1,400

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

From Artigas, Uruguay. Property of a London lady.

394 395

398

PINK QUARTZ CRYSTAL GEODE DISPLAY

12 in. (3.1 kg total, 31 cm including stand)

A heart-shaped geode section with highly polished obverse showing some brown and grey agate, as well as translucent quartz, the internal cavity lined with botryoidal formation with druzy pink quartz; mounted on a custom-made display stand.

£800 - 1,000

PROVENANCE:

From

397

‘SNOWY LANDSCAPE’ GEODE CRYSTAL FORMATION

10 in. (5.27 kg total, 25.5 cm wide including stand)

A rounded geode matrix with undulating peaks of brown and white druzy quartz; mounted on a custom-made display stand.

£900 - 1,100

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

399

AGATE GEODE DISPLAY WITH QUARTZ CRYSTALS

11 in. (3.7 kg total, 28 cm including stand)

A rounded geode section with highly polished borders showing white and brown banding, internal cavity lined with botryoidal formation covered with druzy quartz; mounted on a custom-made display stand.

£600 - 800

PROVENANCE: From Artigas, Uruguay.

Artigas, Uruguay. Property of a London lady.

Property of a London lady.

400

POLISHED PYRITE CRYSTAL DISPLAY

5¼ in. (1.46 kg total, 13.3 cm including stand)

An intergrown mass of pyrite crystals, some polished to a high-sheen, remains of matrix to one side; mounted on a wooden display base.

£500 - 700

PROVENANCE: From Peru. Property of a London lady.

400

401

AMETHYST CRYSTAL DISPLAY WITH CALCITE 14 in. (7.46 kg, 36.5 cm including stand)

A polished geode section with deep amethyst-lined cavity, intergrown white calcite crystals at the base; mounted on a custom-made display stand.

£1,500 - 2,000

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

402

LARGE AGATE AND AMETHYST COLUMN DISPLAY

24 in. (10.45 kg total, 62 cm including stand)

A thick, cut and polished geode section showing attractive layering of white, grey, and brown agate; well-formed prismatic amethyst crystals above the agate layer; mounted on a custom-made display stand.

£2,000 - 3,000

PROVENANCE:

From Artigas, Uruguay. Property of a London lady.

403

LARGE AGATE AND AMETHYST COLUMN DISPLAY

25½ in. (8.47 kg total, 65 cm including stand)

£2,000 - 3,000

PROVENANCE:

From Artigas, Uruguay. Property of a London lady.

404

QUARTZ CRYSTAL GEODE DISPLAY

12¾ in. (10.49 kg, 32.2 cm wide including stand)

A cut and polished geode section showing attractive banding on the polished surfaces, the inside lined with brown druzy quartz forming an undulating ‘landscape’; to the left a wide blade-like formation of druzy white quartz; mounted on a custom-made wooden display stand.

£1,000 - 1,400

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

405

AMETHYST AND QUARTZ CRYSTAL GEODE SECTION

13 in. (2.4 kg total, 34.5 cm including stand)

A cut section of green celadonite geode with white quartz crystals to the outer wall, the internal wall lined with radiating clusters of prismatic amethyst and quartz crystals; accompanied by a custommade display stand.

£1,000 - 1,400

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

406

MOUNTED AMETHYST CRYSTAL DISPLAY

11¼ in. (3.48 kg total, 28.5 cm including stand)

A triangular polished geode section displaying green, pink and brown colours, lined with small prismatic light and dark purple amethyst crystals; mounted on a custom-made display stand.

£800 - 1,000

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

407

MOUNTED AMETHYST CRYSTAL DISPLAY

8 in. (3.31 kg total, 19.5 cm wide including stand)

A polished, rounded geode section with rising formations of light purple amethyst crystals to the internal cavity; mounted on a custom-made display stand.

£900 - 1,100

PROVENANCE: From Artigas, Uruguay.

Property of a London lady.

408

AMETHYST CRYSTAL DISPLAY WITH CALCITE

14½ in. (12.8 kg total, 37 cm including stand)

Rounded section of a geode with polished edges lined with light purple amethyst crystals; light yellow calcite to the centre with a smaller calcite to the side, both with drusy quartz; mounted on a custom-made display stand.

£1,800 - 2,400

PROVENANCE:

From Artigas, Uruguay.

Property of a London lady.

409

LARGE GEODE SECTION WITH ‘SNOWBALL’ QUARTZ 20 in. (23.95 kg total, 51 cm including stand)

Rounded geode section with polished borders, lined with snowballlike formations of grey, white and light blue quartz; mounted on a custom-made display stand.

£1,500 - 2,000

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

410

AMETHYST CRYSTAL DISPLAY WITH CALCITE 13 in. (11.16 total, 34.5 cm wide including stand)

A beautiful cut and polished section of geode lined with vibrant amethyst crystals and a flower-like formation of white calcite to one side; mounted on a custom-made display stand.

£1,500 - 2,000

PROVENANCE: From Artigas, Uruguay. Property of a London lady.

Bidder/Buyer Terms and Conditions

1. Interpretations and Definitions: the following terms generally apply within these Terms and Conditions; other terms are defined within specific sections following:

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4. Dimensions, weights and colour: All dimensions and weights (including ring sizes) are approximate and are for general guidance only; a single dimension given is normally the greatest dimension for the piece(s). Although TimeLine have made every effort to precisely display the colours and condition of a Lot, TimeLine does not guarantee or represent that a device displays them accurately. The Lot may vary slightly from those images.

5. Condition: A condition statement for Lots

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Circa 6th century AD - an item that can be approximately dated by comparison with other pieces;

Probably 6th century AD - an item that is likely to be of this period in the light of similar pieces; Possibly 6th century AD - an item that might be of this period by comparison with items of a broadly similar character; and Undated - no date is known or suggested for the piece.

6th Century AD or later – an item is dated to a speciﬁc period but may also be a revival of style of a later date.

7. Attributions: Works of art attributions may be given in several forms, as examples below:

Signed – a work bearing the signature of the named artist;

Attributed to – a work of the period of the artist which may be in whole or in part the work of the artist named;

Circle of – a work of the period of the artist and showing his inﬂuence; Follower of – a contemporary or nearly so work executed in the style of the artist; Manner of – a work executed in the style of the artist but of a later date; and After – a copy of any date of a work of the artist.

8. Other Descriptive Matters: Some other words or phrases are used descriptively, as examples below:

Style - an item made in the style of an earlier age but thought to be probably of later date.

Archaistic - an item made in the style of a much earlier age; Grand Tour - an item usually of some age but in the style of an earlier age; After the Antique - an item made as a reproduction, usually of quite modern date; and Faux - used descriptively when the material used is probably imitative in character.

9. Lots including Archaeological or Cultural Property: A UK export licence from the Department for Digital, Culture, Media and Sport, is required for Lots originating from UK soil or territory leaving the UK and for such Lots of non-UK origin when leaving the UK. TimeLine will make applications for the necessary Cultural Property Export Licence as a ‘free of charge’ service to Buyers, where the Export Licence is legally required. If a Buyer requests for TimeLine to apply for an Export Licence where this is not legally required, an additional fee of £24 (VAT inclusive) will be invoiced to the Buyer. Buyers are advised to check concerning any Regulations applicable in their country of residence regarding importation and to enquire prior to bidding. The deferment of any Export Licence shall not be reason to cancel any bid nor to delay payment.

10. Compliance with Cultural Goods Regulation: Each Bidder/Buyer acknowledges that the importation of cultural goods into the EU is subject to EU Regulation 2019/880, effective from 28 June 2025. Each Bidder/Buyer agrees to comply fully with all applicable laws and regulations governing the importation, including but not limited to:

a. Obtaining any required import licence (for Category B items: archaeological objects or items >250 years old).

b. Submitting a valid importer statement for

Category C items (objects >200 years old valued ≥ €18,000).

c. Providing proof of lawful export from the country of origin (including the UK) where applicable.

11. TimeLine’s limited obligation in relation to the Cultural Goods Regulation: TimeLine shall, to the extent it has received from the Seller and the Buyer has paid in full the due Purchase Price in accordance with clause 30, provide supporting documentation to each relevant Bidder/Buyer, relating to:

a. Provenance and ownership of the relevant Lot.

b. Customs export declaration from the UK.

c. Any UK cultural property export licences (if required under the UK’s own export control regime).

However, TimeLine shall not be liable to any Bidder/Buyer for:

i. Delays in EU customs clearance.

ii. The Bidder’s/Buyer’s failure to obtain the required import documentation or statements.

iii. Any seizure, forfeiture or return of Lots by EU customs or authorities.

iv. Delays caused by the Seller’s failure to provide any requested information. TimeLine makes no representation or warranty that the Lot(s) will be accepted for import by the EU authorities, and shall not be liable for any rejection, seizure, or delay once the Lot(s) have left the UK.

12. Lots including materials from Endangered Species: Buyers are responsible for obtaining a CITES licence when required for the export from the UK of any item(s) made of or containing materials such as ivory, tortoiseshell, rhinoceros horn, whalebone, etc.

13. Import Licences: Buyers are responsible for checking and ensuring compliance with any regulations applicable in their country of residence regarding importation.

14. Copyright: all cataloguing text, images and other material published by TimeLine whether physically or electronically is the property of TimeLine and may not be reproduced, stored in any retrieval system or otherwise transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written consent of TimeLine.

15. General Conduct of Auction: TimeLine shall have absolute discretion as to lots offered for sale, lots withdrawn and the conduct of any Auction. TimeLine shall have absolute discretion to refuse entry, decline bids and expel any person from the Auction whether present in person or by agent or proxy or attending by way of any electronic media or telecommunications.

16. Viewing: all Lots are available to view. All prospective Bidders are advised to view any Lot(s) prior to bidding and the Bidder must form their own opinion before bidding. Public viewing arrangements will be advised in advance of the Date of Sale and private viewing can be arranged at the TimeLine premises by appointment.

17. Lot Descriptions: all Lots are offered ‘as seen’ and ‘as is’ and are available for inspection. The Buyer is obligated to make all and any enquiries he wishes as to the accuracy and authenticity of any sale description (including Condition, Dating and Attributions, as set out in clauses 7-9).The principle of caveat emptor applies except where expressly excluded by operation of law. While materials (such as catalogues) are vetted by an external committee of experts, TimeLine do not make or give any guarantee, warranty or representation or undertake any duty of care in relation to the description, illustrations or photographs of any Lot, including condition, quality, provenance, authenticity, background, style, period, age, origin, value and estimated selling price. TimeLine undertakes no obligation to examine, investigate or carry out any tests either in sufﬁcient depth or at all to establish the accuracy or otherwise of any description or opinions given by TimeLine whether in the catalogue or elsewhere. Lots comprising Groups are sold strictly subject to them not being returnable for any reason whatsoever; the provisions set out under clause 45 are speciﬁcally excluded in respect of such Lots. For coins that have been authenticated, graded and

encapsulated ('slabbed') by an independent grading company, no guarantee of any kind is offered by TimeLine. Buyers should note that removal or attempted removal from any slab will immediately void any independent guarantee that might have been offered by that grading company.

18. Condition Reports: All Lots are available for inspection. TimeLine will provide a report on the physical condition of any Lot on request. Bidders should note that reports are provided as a free service to interested Bidders. Descriptions therein are not warranties and all Lots are offered ‘as seen’ and ‘as is’.

19. Estimates: estimates are for general guidance only and Lots may sell outside their indicated range(s). Bidders must make their own assessment as to the value of any Lot and conduct their bidding accordingly.

20. Reserves: Lots may be subject to a Reserve Price set by the Seller, at a level not exceeding the low estimate, below which bids cannot be accepted; TimeLine reserves the right to bid on behalf of a Seller, up to the amount of any Reserve Price.

21. Buyer’s Premium: the Buyer’s Premium is 30% of the Hammer Price [inclusive of VAT] for all successful Bidders. Use of the TimeLine Auctions online in-house bidding service is free of additional charge. For those using any other internet bidding platforms, the provider’s normal charges at up to 6% (inclusive of VAT) will be payable by the Buyer in addition to the Buyer’s Premium.

22. Registration and Bidding: all prospective Bidders must register their personal details with TimeLine before bidding and a Bidder Number will be allocated for their use in relation to a speciﬁc sale; prospective Bidders will be asked to provide proof of identity and address. TimeLine reserves its right to refuse any Bidder or any Bid at its discretion. A deposit in accordance with clause 29 may be required before accepting any Bid(s). The Bidder Number must be shown by Bidders to the Auctioneer when placing a bid and by the successful Bidder when the Lot is Knocked Down. The auctioneer shall conduct the Auction at his sole discretion for all matters, accept Bids from any source and may exercise bids on behalf of absent Bidders or on behalf of Sellers up to any Reserve Price. Bidding shall be in pounds sterling only and generally in accordance with the increments set out below:

1. £0 to £99 – in increments of £5

2. £100 to £199 – in increments of £10

3. £200 to £499 – in increments of £20

4. £500 to £999 – in increments of £50

5. £1000 to £1999 – in increments of £100

6. £2000 to £4999 – in increments of £200

7. £5000 to £9999 – in increments of £500

8. £10000 to £19999 – in increments of £1000

9. £20000 to £49999 – in increments of £2000

10. £50000 to £99999 – in increments of £5000

11. £100000 to £249999 – in increments of £10000

12. £250000 and up – in minimum increments of £20000

23. Absentee Bidding/Auto Bidding: Registered Bidders may leave absentee/auto Bids in advance of a live Auction directly through the TimeLine website or in writing by mail, email, fax or other delivery means and will be automatically exercised at the Reserve Price or at one bid increment above any competing Bid up to the submitted maximum Bid amount.

24. Commission Bidding: while Bidders are advised to attend the Auction and to bid in person, TimeLine will accept written instructions in advance of a live Auction from a Registered Bidder to personally execute bids on behalf of the Bidder up to a stated maximum. Unlimited bids or bids to ‘buy’ will not be accepted. In the event of identical bids being received from more than one Bidder, the earliest received will have priority. TimeLine offers this as a free service for live Auctions but] no liability is accepted for any errors in bidding or in the event that a Bid is not placed. A deposit may be required In accordance with clause 29.

25. Internet Bidding: live, real-time bidding is available to Bidders through the TimeLine website for all live Auctions. Bidders intending to use any other internet bidding service must Register in advance with that service and the provider’s normal charges at up to 6% (VAT inclusive) will be payable in addition to the Buyer’s Premium. It is entirely the responsibility of the Bidder using any bidding service to ensure that Bids are made accurately; Bids cannot be retracted once made and are binding on the Bidder in all circumstances. TimeLine are not responsible for any technical or other failure which results in Bids not being received.

26. Telephone Bidding: facilities for telephone bidding are available at live Auctions at the discretion of TimeLine for Bidders on Lots with a low estimate in excess of £250 and must be booked and conﬁrmed in advance. It is a condition for acceptance by TimeLine of any telephone bidding request that the Bidder undertakes to execute a minimum Bid at the low estimate sum. TimeLine offers telephone bidding as a free service but no liability is accepted for any errors or in the event that a connection cannot be made or is interrupted before the Lot is Knocked Down.

27. Agents: all Bidders making Bids through any means shall be deemed to be acting as principal in their bidding and shall be directly and fully liable for all Bid amounts, Buyer’s Premium and any other charges or costs. If any prospective Bidder wishes to appoint a person to bid on their behalf, then this must be agreed and authorised in writing by TimeLine in advance of the Auction. A deposit may be required in accordance with clause 29.

28. Value Added Tax and Duties: VAT is charged on an inclusive basis, under the Auctioneer’s Margin Scheme on all Buyer's Premiums and other charges and is not claimable as Input VAT. For some items, such as investment gold, modern jewellery and gemstones, where marked with a ‘dagger’ (†) symbol, VAT on the Hammer Price will be payable in addition. Where import duties are payable, these lots are marked with symbols ‡ or Ω and are payable by all buyers at the corresponding rates; for overseas buyers, a refund of import duty will be payable or credited, provided that the item(s) have left the UK within 30 days of date of payment.

29. Deposits: Timeline reserves the right to request a deposit in certain circumstances. The amount of the deposit will be set by Timeline. If a Bid is not placed the deposit will be paid back within a reasonable timeframe after the close of the auction. In case of a successful bid, the deposit will be reduced from the Purchase Price payable by the Buyer.

30. Payment: the Purchase Price becomes due and payable when the Lot is Knocked Down by the Auctioneer. Requests and Statements detailing the purchase information will be sent out by email or post; Bidders may be telephoned or otherwise contacted when payment is not received promptly or where there are queries in any respect.

a. The full Purchase Price must be paid in Pounds Sterling and can be made by bank transfer (for transfers from outside the UK, subject to payment of an additional £10 overseas bank transaction fee), by cash up to the value of £7,000, by cheque from a UK bank (subject to clearance) or by bank debit card or credit card (up to a maximum of £500). It is the responsibility of the Buyer to ensure that TimeLine receives the correct amount payable.

b. Unless agreed by TimeLine in writing in advance of the Auction, the Buyer must pay the Purchase Price in full in cleared funds to TimeLine by no later than 4.30pm on the third working day following the Date of Sale. In case of delayed payment, clause 34 applies.

31. Title, Risk and Insurance: Title to any Lot is retained by the Seller until the Purchase Price and all other sums payable by the Buyer have been paid in full in cleared funds to TimeLine; at this point, Title will transfer from the Seller to the Buyer. Risk for the Lot passes to the Buyer at the time the Lot is Knocked Down to the Bidder. TimeLine does not hold property insured after the Lot has been Knocked Down. In addition, risk and

responsibility for compliance with EU cultural goods import laws (or any other equivalent laws affecting the import of the Lot(s))shall transfer to the relevant Bidder/Buyer upon(i) delivery to the carrier at the UK export point or (ii) collection by the Buyer (or their agent), from that point forward, the relevant Buyer assumes full responsibility for securing the Lots lawful entry into the EU or non-UK country.

32. Collection of Lots and Storage: Once the Buyer has paid the Purchase Price in full, TimeLine will release the Lot to the Buyer for collection. The Buyer must collect, or arrange the collection of, all purchases from the location advised by TimeLine by 4.30pm on the seventh working day following the Date of Sale. The Buyer must present photographic ID for any collection. If a third party is collecting on behalf of the Buyer, please contact TimeLine in writing to provide prior written authorisation conﬁrming the third party who would be collecting on the Buyer’s behalf. The third party will need to present their photographic ID for collection also.

TimeLine may provide the Buyer with a quotation and contact details for the services of Mail Boxes Etc on TimeLine documentation (any storage/shipping contract is between the Buyer and Mail Boxes Etc). The Buyer may arrange a service of their choice for collection, packing and shipping services. Lots not collected by the seventh working day following the Date of Sale will be moved to storage at a transfer cost of £20 plus VAT per Lot and storage charges will thereafter be applied at the rate of £1.90 plus VAT per Lot per day until collected; no Lots may be removed/released to the Buyer until all storage and transfer costs have been paid in full. In the event that the accrual of storage charges reaches 50% of the Hammer Price paid or after the expiration of three months from the transfer date, whichever occurs ﬁrst, Timeline reserve the right to re-sell any and all Lots stored without notice and in any manner at their sole discretion and to apply any proceeds in defrayment of such costs. The Buyer will be entitled to receive any credit balance above the amount of the costs on request but will remain liable for any deﬁcit.

33. Delivery by TimeLine: at the absolute discretion of TimeLine, TimeLine may, on request, directly arrange delivery of certain Lots to the address registered to the Buyer, on payment by the Buyer to TimeLine of any advised handling and delivery charge.

34. Remedies for Buyer’s Failure to Make Payment and/or Remove Lots: if the Purchase Price and/or all sums payable are not paid in full when they fall due and/or the Lot is not removed in accordance with these terms, TimeLine may without further notice to the Buyer be entitled to exercise one or more of the following rights:

a. To terminate the agreement immediately for breach of contract;

b. To retain possession of the Lot;

c. To remove and/or store the Lot at the Buyer’s expense, as detailed at clause 32 at a cost to the Buyer of £20 + VAT for the transfer per Lot plus a daily cost of £1.90 plus VAT per Lot for the storage;

d. To take legal proceedings against the Buyer for payment of any sums due to TimeLine by the Buyer;

e. To be paid interest on any monies due to TimeLine at the annual rate of 8% per annum from time to time to be calculated on a daily basis from the date upon which such monies became payable until the date of actual payment;

f. To sell the Lot without a Reserve Price at Auction or by any other means and apply any proceeds against the amount owing by the Buyer to TimeLine;

g. To apply any monies received from the Buyer in payment or part payment of any sums due from the Buyer to TimeLine under these terms;

h. To refuse to allow the Buyer to register for a future Auction or to reject a bid from the Buyer at a future Auction.

35. Limitation of Liability: The Auctioneer has obtained insurance cover in respect of its own legal liability for individual claims. The limits and exclusions in this clause reﬂect the insurance cover the Auctioneer has been able to arrange and the Buyer is responsible for making his own arrangements for the insurance of any excess loss.

Timeline will under no circumstances be liable to the Buyer, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, arising under or in connection with the contract for:

a. any loss of proﬁts, sales, business or revenue

b. loss of business opportunity

c. an indirect or consequential loss.

Our total liability to you for all losses arising under or in connection to the contract, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, will in no circumstances exceed £500.

Nothing in the Contract limits any liability which cannot legally be limited, including but not limited to liability for:

a. death or personal injury caused by negligence;

b. fraud or fraudulent misrepresentation; and

c. breach of the terms implied by section 12 of the Supply of Goods and Services Act 1979 (title and quiet possession).

The sale and purchase of the Lot(s) that is completed under these Terms and the delivery to the carrier at the UK export point or collection by the Buyer (or their agent), shall not be subject to rescission, return, or non-payment due to:

a. Unforeseen EU customs measures;

b. Reclassiﬁcation of the item by import authorities;

c. Non-issuance or denial of import licence; and

d. Delay in clearance, inspection, or release.

Failure by the Bidder/Buyer to comply with the requirements set out at clause 10 shall not constitute grounds to terminate, cancel, or void the contract of sale.

This clause 35 shall survive termination of the Contract.

36. Buyer’s Indemnity: The Buyer agrees to indemnify and hold TimeLine harmless on a full indemnity basis all claims and all direct, indirect or consequential losses (including loss of proﬁts, loss of business, depletion of goodwill and similar losses), costs, proceedings, damages and expenses (including legal and other professional fees and expenses) awarded against or incurred or paid by TimeLine as a result or in connection with as a result of:

a. TimeLine taking steps under clause 35; b.the Bidder’s/Buyer’s failure to comply with EU import requirements;and c. incorrect or false importer statements.

37. Use of your personal information: TimeLine will only use the Seller’s personal information as set out in their privacy policy. TimeLine may amend this policy from time to time. Where Timeline processes any personal data, it will comply with the requirements and obligations under the Data Protection Legislation.

38. Anti-Money Laundering: TimeLine’s AntiMoney Laundering Policy sets out TimeLine’s policy for ensuring compliance anti-money laundering legislation that applies to some of TimeLine’s activities. TimeLine may amend this policy from time to time.

39. Sale of Goods Act: The terms implied by sections 13 to 15 of the Sale of Goods Act 1979 are, to the fullest extent permitted by law, excluded.

40. Severance: If any provision or partprovision of these terms and conditions is or becomes invalid, illegal or unenforceable, it shall be deemed modified to the minimum extent necessary to make it valid, legal and enforceable. If such modification is not possible, the relevant provision or partprovision shall be deemed deleted. Any modification to or deletion of a provision or part-provision under this clause shall not affect the validity and enforceability of the rest of the terms and conditions.

41. Amendments: TimeLine may amend these Terms and Conditions from time to time. Please check our website for our latest terms and conditions.

42. No waiver: No failure or delay by TimeLine to exercise any right or remedy provided under the these Terms and Conditions or by law shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy.

43. Third-Party rights: These Terms & Conditions are between Timeline and a Seller. No other person shall have any rights to enforce any of these terms.

44. Governing Law: these terms and conditions and any dispute or claim arising out of or in connection with them or their subject matter or formation (including noncontractual disputes or claims) shall be governed by, and construed in accordance with, the law of England and Wales.

45. Jurisdiction: the Bidder irrevocably agrees that the courts of England and Wales shall have exclusive jurisdiction to settle any dispute or claim arising out of or in connection with these terms and conditions or its subject matter or formation (including non-contractual disputes or claims). At the sole discretion of TimeLine, the auctioneer may instigate any proceedings within the jurisdiction of the bidder's country of residence.

46. Disputes: in the event that the Buyer has any dispute in relation to any Lot, not being a Lot described as a Group, Collection or other term indicating that the lot comprises more than one object, (such lots being sold cannot be returned in accordance with clause 17), which has been sold, that dispute must be notified to TimeLine in writing within 14 days following the Date of the Sale in order that TimeLine can hold the proceeds pending resolution of the dispute. In the event of deliberate forgery being claimed for any Lot, the Buyer shall submit two opinions in writing from recognised experts for consideration; the inability of different experts to agree shall not be sufficient grounds. No liability is accepted by TimeLine for any costs/losses of the Buyer, including but not limited to fees, shipping, loss of profit, consequential costs or any other matters beyond the Hammer Price and Buyer's Premium. In all cases, any item must be returned to TimeLine, strictly in the condition it was in at the date of the sale being held; Buyers are advised that any form of destructive examination or testing undertaken will result in claims being rejected; claims resulting from results of tests under a scientific process not generally accepted for use at the Date of the Sale or which were unreasonably expensive in relation to the estimates for the lot or impractical or likely to have caused damage to the Lot at the Date of the Sale will not be allowed.

TimeLine will have no liability to the Buyer after a period of 14 days as then TimeLine will release monies and make payments to Sellers.

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

Seller’s Terms and Conditions

1. Interpretations and Definitions: the following terms generally apply within these Terms and Conditions; other terms are defined within specific sections following: Auctioneer – the firm TimeLine Auctions Ltd (“TimeLine” hereafter) or its authorised auctioneer, acting as Agent for the Seller. TimeLine is a company registered in England and Wales (company no: 06873501) with registered office at The Court House, 363 Main Road, Harwich, CO12 4DN, UK. The website and telephone number are https://timelineauctions.com and +44 (0) 1277 815121. Agent – a person or body acting on behalf of another.

ALR – Art Loss Register - All lots with an upper Estimate value of £1,500 and above and all ancient Western Asiatic lots are searched against the Art Loss Register database.

Auction – a sale event whether taking place live in real-time or of extended duration (Timed Auction).

Bid – a sum offered by a Bidder to purchase the Lot.

Bidder – the person offering a Bid.

Buyer – the person who the Lot is Knocked Down to.

Date of Sale – the date on which the Auctioneer Knocks Down the Lot.

Estimate – the estimate for any Lots as set out in the Property Receipt.

Group – any Lot comprising more than one item.

Hammer Price – the amount of the winning bid when Knocked Down by the Auctioneer to a Bidder.

Knock(ed/ing) Down – the act of the Auctioneer in bringing the Hammer down to complete the contract for the sale of the Lot to the Bidder submitting the highest bid. Lot – the goods for sale.

Net Proceeds-the Hammer Price less the Selling Commission and any charges or expenses levied at Timeline’s discretion in accordance with these Terms and Conditions.

Reserve Price – the minimum Hammer Price at which a Lot may be Knocked Down Seller – the person offering the Lot for sale.

Selling Commission – the sum due to TimeLine from the Seller in accordance with clause 11.

Timed Sale –in relation to an unsold Lot, a 28 day timeframe to allow a sale post Auction in accordance with clause 16.

Title – legal rights of ownership of the Lot. Unsold Fee – 6% (VAT inclusive) of the Reserve Price.

Withdrawal Fee – the fee payable to TimeLine in the event the Seller withdraws a Lot in accordance with clause 15, which shall be 6% (VAT inclusive) of the low Estimate or Reserve Price, whichever is higher.

2. Application: the singular includes the plural and vice versa and any reference to ‘he’, ‘she’ or ‘it’ applies to all of them.

3. Basis of Contract:

a. These terms and conditions apply to the exclusion of any other terms that the Seller seeks to impose or incorporate, or which are implied by trade, custom, practice or course of dealing.

b. Each Seller is required to read the terms and conditions attached to the Property Acceptance/Receipt and acknowledges that he/she has read, accepted and acknowledged the terms of such attachment, in advance of signing the same.

c. As auctioneer, TimeLine acts solely for, and in the interest of, the Seller.

4. Copyright: all cataloguing text, images and other material published by TimeLine (including in relation to any Lot) whether physically or electronically is the property of TimeLine and may not be reproduced, stored in any retrieval system or otherwise transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written consent of TimeLine. Timeline does not guarantee that a device accurately displays the colours and condition of a Lot.

5. Rights to Photographs, Illustrations and Documents: the Seller grants to Timeline full and absolute right to photograph or illustrate any Lot and to use such photographs or illustrations, and any photographs, illustrations or documents provided by the Seller, at any time and at TimeLine’s absolute discretion (whether or not in connection with any Auction).

6. Title, Risk and Insurance: Title to any Lot is retained by the Seller until the Purchase Price and all other sums payable by the Buyer have been paid in full in cleared funds to TimeLine; at this point, Title will transfer from the Seller to the Buyer. Risk for the Lot

passes to the Buyer at the time the Lot is Knocked Down to the Bidder. TimeLine does not hold any Lot insured after the Lot has been Knocked Down.The relevant Seller shall indemnify and hold harmless TimeLine against all and any claims, ﬁnes, penalties, or losses (including legal fees) arising from, (i) the Seller’s failure to comply with EU import requirements; (ii) incorrect or false importer statements; (iii) misrepresentation of the Lot’s origin, age, value, or cultural classiﬁcation.

7. Compliance with Cultural Goods Regulation:The Selleracknowledges that the importation of cultural goods into the EU is subject to EU Regulation 2019/880, effective from 28 June 2025. The Seller agrees to comply fully with all applicable laws and regulations governing the importation, including but not limited to:

a. Obtaining any required import licence (for Category B items: archaeological objects or items >250 years old).

b. Submitting a valid importer statement for Category C items (objects >200 years old valued ≥ €18,000).

c. Providing proof of lawful export from the country of origin (including the UK) where applicable.

The Sellerwarrants and represents to TimeLine and it shall carry out reasonable due diligence of the Lot(s) in line with industry standards, and shall:

a. discloseto TimeLine in writing any known export restrictions or provenance concerns;

b. consent to TimeLine notifying any potential Bidder/Buyer if the Lot may fall under Categories B or C under EU Regulation 2019/880; and

c. provide to TimeLine all and any supporting documentation and consent to the same being shared with any potential Bidder/Buyer.

8. Seller’s Representations and Warranties: in submitting any Lot for sale, the Seller warrants and represents to TimeLine the matters set out in the Property Acceptance/Receipt and Seller’s statement of provenance. The Seller will be asked to provide proof of identity and address.

9. Limitation of Liability: The Auctioneer has obtained insurance cover in respect of its own legal liability for individual claims. The limits and exclusions in this clause reﬂect the insurance cover the Auctioneer has been able to arrange and the Seller is responsible for making his own arrangements for the insurance of any excess loss.

Timeline will under no circumstances be liable to the Seller, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, arising under or in connection with the Contract for: a. any loss of proﬁts, sales, business or revenue;

b. loss of business opportunity; and c. an indirect or consequential loss.

TimeLine’s total liability to the Seller for all losses arising under or in connection to the Contract, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, will in no circumstances exceed £500.

Nothing in these terms and conditions limits any liability which cannot legally be limited, including but not limited to liability for:

a. death or personal injury caused by negligence;

b. fraud or fraudulent misrepresentation; and c. breach of the terms implied by section 12 of the Supply of Goods and Services Act 1979 (title and quiet possession). The sale and purchase of the Lot(s) that is completed under these Terms, shall not be subject to rescission, return, or non-payment due to:

a. Unforeseen EU customs measures;

b. Reclassiﬁcation of the item by import authorities;

c. Non-issuance or denial of import licence; and

d. Delay in clearance, inspection, or release. This clause 9 shall survive termination of the Contract.

10. Seller’s Indemnity: The Seller shall indemnify and hold TimeLine harmless from all claims and all direct, indirect or consequential losses (including loss of proﬁts, loss of business, depletion of goodwill and similar losses), costs, proceedings, damages and expenses (including legal and other professional fees

and expenses) awarded against or incurred or paid by TimeLine as a result or in connection with:

a. any breach of the warranties referred to in clause 8;

b. any claim made against TimeLine concerning the authenticity of any Lot;

c. any alleged or actual infringement, whether or not under English law, of any third party’s Intellectual Property Rights or other rights arising out of the Auction or sale of the Lot;

d. any failure of the Seller’s to comply with EU import requirements;

e. incorrect or false importer statements made to TimeLine that are shared with any potential Bidder; and f. misrepresentation of the Lot’s origin, age, value, or cultural classiﬁcation.

11. Selling Commission: The standard rate of selling commission payable to TimeLine shall be 18% of the Hammer Price (VAT inclusive).

12. Additional Charges: TimeLine may levy additional charges regarding:

a. Collection of goods from Seller’s premises, storage of goods submitted for sale by a Seller and storage of Lots unsold in accordance with clause 16;

b. Further charges at the discretion of TimeLine on advance warning to the Seller for any unusual research, special or additional imaging, testing, consultation with external specialists, conservation, cleaning or other services concerned with presenting the Lot, including VAT or other taxes or duties as applicable.

c. All items submitted for sale in the 'Western Asiatic' category (other than items designated as 'style') and all lots over £1000 will incur an administration charge of £6.00 (VAT inclusive) per item for additional checking, including searches against the ALR.

13. Lots: all goods submitted to TimeLine will be lotted, catalogued and offered by live auction sale, limited timed auction sale, 'buy it now' direct sale or other method at the sole discretion of TimeLine; antiquities, antiques and collectables Lots with a low Estimate of £200 or less and coin Lots with a low Estimate of £100 or less will not normally be illustrated in any printed catalogue and printed text entries may be minimised (images and full text will always be shown on the TimeLine website); Estimates are provided for information only and Hammer Prices may differ from the estimated range.

14. Reserve Price: The Seller may set a Reserve Price on any Lot where the low Estimate exceeds £120 subject to agreeing that an Unsold Fee will become payable to Timeline for any such Reserved Lot which fails to sell; in addition the Seller agrees that the auctioneer may accept a bid received at one bid increment or 10% of the Reserve Price (whichever is higher) below the Reserve Price sum if necessary to sell the Lot.

15. Withdrawal of Lots: Once entered for sale, Lots may be withdrawn by the Seller only upon the agreement of TimeLine and payment to TimeLine of the Withdrawal Fee; a Withdrawal Fee will also be payable should any post-Sale offer be received in accordance with clause 15 but not accepted by the Seller. TimeLine reserves the absolute right to withdraw any Lot from sale for any reason in which circumstance no Withdrawal Fee will be payable. The Seller is thereafter responsible for collection of any Lot which has been withdrawn and clause 16 applies.

16. Unsold Lots and Storage: in the event that a Lot is not sold no Selling Commission is payable unless the Lot was subject to a Reserve Price in which case a sum of 6% (VAT inclusive)of the Reserve Price is payable by the Seller to TimeLine. TimeLine shall retain possession of unsold Lots for a period of twenty-eight days from the date of any Auction for entry into any Timed Sale or against the possibility of receiving post-Sale offers for such Lots. The Seller is thereafter responsible for collection of any unsold goods immediately after this period and Lots will be released after any charges due have been paid in full. Lots not removed by 4.30pm on the seventh working day after the due date will be moved to storage at a transfer cost of £20 plus VAT per Lot and storage charges will thereafter be applied at

the rate of £1.90 plus VAT per Lot per day until collected; no Lots may be removed until any storage or other amounts due to TimeLine have been paid in full. In the event that the accrual of storage charges reaches 50% of the Reserve Price or after the expiration of three months from the transfer date, whichever occurs ﬁrst, Timeline reserve the right to re-sell any and all Lots stored without notice and in any manner at their sole discretion and to apply any proceeds in defrayment of such costs. The Seller will be entitled to receive any credit balance above the amount of the costs on request but will remain liable for any deﬁcit.

17. Payment to Sellers: the Net Proceeds of the Auction will become due and payable to the Seller 30 days following the Date of Sale provided that TimeLine have received cleared payment of the Purchase Price in full from the Buyer. The Seller agrees and accepts that TimeLine shall not payable the Net Proceeds to the Seller until it has received in cleared funds the sum equal to the Purchase Price from the Buyer.

18. Use of your personal information: TimeLine will only use the Seller’s personal information as set out in their privacy policy. TimeLine may amend this policy from time to time. Where Timeline processes any personal data, Timeline will comply with the requirements and obligations under the Data Protection Legislation.

19. Anti-Money Laundering: TimeLine’s AntiMoney Laundering Policy sets out TimeLine’s policy for ensuring compliance with antimoney laundering legislation that applies to some of TimeLine’s activities. TimeLine may amend this policy from time to time.

20. Sale of Goods Act: The terms implied by sections 13 to 15 of the Sale of Goods Act 1979 are, to the fullest extent permitted by law, excluded.

21. Severance: If any provision or partprovision of these terms and conditions is or becomes invalid, illegal or unenforceable, it shall be deemed modified to the minimum extent necessary to make it valid, legal and enforceable. If such modification is not possible, the relevant provision or partprovision shall be deemed deleted. Any modification to or deletion of a provision or part-provision under this clause shall not affect the validity and enforceability of the rest of the terms and conditions.

22. Amendments: TimeLine may amend these Terms and Conditions from time to time. Please check our website for our latest terms and conditions.

23. No waiver: No failure or delay by TimeLine to exercise any right or remedy provided under the these Terms and Conditions or by law shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy.

24. Third-Party rights: These Terms & Conditions are between Timeline and a Seller. No other person shall have any rights to enforce any of these terms.

25. Governing Law: these terms and conditions and any dispute or claim arising out of or in connection with them or their subject matter or formation (including noncontractual disputes or claims) shall be governed by, and construed in accordance with, the law of England and Wales.

26. Jurisdiction: each party irrevocably agrees that the courts of England and Wales shall have exclusive jurisdiction to settle any dispute or claim arising out of or in connection with these terms and conditions or its subject matter or formation (including non-contractual disputes or claims); however, Timeline may, at its sole discretion, elect to institute proceedings in a different court or jurisdiction, including that of the country of residence of any party, in connection with any dispute or claim.