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116863 Los(e)/Seite
Los 119
WW1 German Prussian Infantry Regiment 176 M.15 Variation Field Grey Bluse (Tunic), this field grey bluse differs slightly in construction from the standard configuration, it is without turned back cuffs and only has a small vent at the rear instead of the standard M.15 rear skirt, lower pockets are straight, fly front identical to the M.15 construction. It is depot issued and marked in a rectangle to the interior ‘B.A.XII (Army corp 17) dated ‘1915’. We can only assume that the army corp clothing manufacturing depot constructed the tunic in this style maybe on individual request, Beautiful condition, one moth hole to the lower righthand sleeve otherwise all nap to cloth excellent, complete with Prussian NCO’s lace to the collar and fitted with chain stitch ‘176’ M-15 pattern white piped shoulder straps. Fully lined in issue grey cotton lining material to the interior. High stand collar, six button fly front. This tunic was once part of the late Michael Baldwin collection and was sold by C&T Auctioneers in the second part of his collection in May 2018, lot 184. Throughout the series of Feldzug books the number of Regiment 176 constantly appears, Michael Baldwin obtained a huge group of uniforms and lightweight equipment of one owner from Infantry Regiment 176.
Los 84
NO RESERVE British Army Officer in the American War of Independence.- Darell (Rev. William) The History of Dover Castle, engraved title, folding plan and 8 only of 9 engraved plates, wormhole in lower margins of endpapers and all to B1, some light spotting and toning, Charles Cornwallis, Marquess Cornwallis's copy with his engraved bookplate on front pastedown, contemporary calf, rubbed, joints splitting, gilt panelled spine, 1 morocco label only of 2, 4to, S. Hooper, 1786.⁂ Charles Cornwallis, first Marquess Cornwallis (1738-1805), fought in the American Revolutionary War (surrendered at Yorktown); governor-general of India and lord lieutenant of Ireland.
Los 115
Two Victorian silver Indian Army temperance medals, the first with obverse depicting two figures beneath a palm tree inscribed "Army Temperance Medal India", the reverse inscribed "Army Temperance Association 1897" "Watch and be sober", the second with obverse St George slaying the dragon to the centre within a blue enamelled garter inscribed "Army Temperance Association, India", within a Maltese cross frame with crown over, the reverse inscribed "For five years fidelity" and "Watch and be sober", (2)
Los 651
Royal Flying Corps & RAF interest - A fine collection of WWI & WWII medals - ephemera and commission certificates relating to Lieutenant Colonel James Morton Leach, Medal group and dress medals - WWI British and War medals / WWII 1939-45 Star; Africa Star; Defence meal; 1939-45 War medal; Air Efficiency Award medal; officer's Record of Service Army book, the records spanning over 30 years of service, dating from 10-9-14 through to 10-2-48; various Identification cards to include British Forces, Middle East, Army in India; Permit to Board, issued by The Commissioner of Police, Bombay, H.M.I. Dockyard; four Officer Commission certificates to include dates, first November 1918; twelfth December 1919; sixteenth November 1926; ninth September 1926; many WWI handwritten letters sent from 29 Squadron Royal Flying Corps France; WWI Aerial photographs, etc. (large quantity)
Los 71
Moeris British Military Army issue chrome cased lever pocket watch, cal. 19H 15 jewel adjusted movement, signed black dial with Arabic numerals and subsidiary seconds, the case with Military markings ', G.S.T.P. M48214 XX', 51mm (at fault) - Condition Report: - Movement - not functioning and over wound. Dial - light marks. Glass - surface scratches. Hands - good. Case - surface scratches and marks from case opening. Crown - not winding, adjusting the hands ok. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Los 431
Three boxes of assorted books to particularly include; military, regiments and corps of the British Army, Badges of the British Army 1820-present, Millers Collectables Antiques price guides, Sky Sports Football year books and Rothmans year books, other football ephemera etc. (3)(B.P. 21% + VAT)
Los 112
FOREIGN TRAVEL: CLARKE, Edward Daniel: Travels in various countries of Europe Asia & Africa: 1- Part the first- Russia, Tartary & Turkey. 1811, 4to. complete with all 48 Maps & plates; 1- Part the second- Greece, Egypt & the Holy Land. 1816, 4to. complete with 28 Maps & plates Plus 27 vignettes. Both vols. cover detached and lacking spine; offsetting; An Account of Portugal as it appeared in 1766 to Dumouriez; since a Celebrated General in the French Army. L, C Law, 1797. 274pp; Paper backed cont. marbled boards; rubbed & dusty; China: Its Costume, Arts, Manufactures. Vols. 3 & 4 only of 4; bound in one.1813. with 39 Hand colour plates; which have been almost over cleaned; Barrington, George: Voyage to New South Wales.. c1802; LACKING TITLE PAGE, starts with page 2. Folding map + 10 Hand coloured plates (9 views); lacking covers; Townsend: Journey through Spain in the years 1786 &87; VOL. 3 ONLY.1791. with 3 plates. (6)
Los 171
"Armata Română" ("Romanian Army") album, dedicated to King Carol I, with 27 chromolithographs after Tadeusz Ajdukiewicz, 1903, bibliophile edition "Armata Română" ("Romanian Army") album, dedicated to King Carol I, with 27 chromolithographs after Tadeusz Ajdukiewicz, 1903, bibliophile edition 54 × 41 cm
Los 74
Kadhim Hayder (Iraq, 1932-1985)Abstraction No.38 oil on canvas, framedsigned 'Kadhim Hayder' and dated '69' in Arabic, further signed and titled 'Abstraction No.38' on the verso, executed in 196980 x 100cm (31 1/2 x 39 3/8in).Footnotes:Provenance:Property from a private collection, LondonKadhim Hayder was a master of weaving symbolism, poetic allegory and abstraction into compositions that were predominantly narrative in subject matter.As a poet, he had a lifelong fascination with the Shi'ite epic of the Martyrdom of Imam Hussein and this episode forms the subject matter of his most significant body of work, The Epic of the Martyr which was exhibited in 1965 at at the National Museum of Modern Art.The present work is a seminal example from this period; seemingly abstract in its entirety, Hayder employs cunning visual symbols that allow us to decipher his hidden narrative. Forms of varying colour's which correspond to different characters in the Martyrdom Epic populate the canvas: the dark green of Imam Hussein, the Red of Shimr and the opposing army, the Yellow of the neutral observers and the White of the martyred troops, this narrative colour coding has been used for centuries in Tazieh 'passion plays' and performances throughout the Sh'ite worldIn other clearly figurative compositions, the white horses of Hussein are seen mourning the death of their Martyr beneath an ominous red moon. In this work, the abstracted patch of white, representing the purity of the fallen, is assaulted by a mass of opposing colour and enveloped in a sea of grey.For further information on this lot please visit Bonhams.com
Los 111
Irish School (c.1816)William Winter and his familyPen, ink and watercolour Inscribed Oh pary accept this trifling gift/This token I am far from you/Yet I shall love you still/Though cruel fate has parted me/From my dear friends and loves/Yet may I soon return again/No more from you to roam, to the lower edge18.5 x 30cm (7¼ x 11¾ in.)Provenance:Robert Young Antiques, LondonPurchased from the above by the present owner in 2000Literature:Young, R. Folk Art, London, 1999. P.94-5 (illustrated) and also illustrated on the back cover. This portrait of Private William Winter and his family was most probably painted by a professional letter-writer while he was garrisoned in Dublin in February 1816 with the 1st battalion, 48th Regiment of Foot. As the inscription along the lower edge implies he commissioned it as a token of his affection for his family in Gloucestershire and he sent it to them with a letter, dated the 15th January 1816, which accompanies the lot. `Dear Father Worthy' he begins and goes on `I hope you are in receipt of this small gift that I have sent you a Rep(resent)ation of the whole of our family which I ha-got drawn by a friend of mine in Dublin and I hope it will please you all'. Concerned that the picture has been creased in the post he suggests `You must take a warm **** to **** the crumples out of the paper when you open the letter'. Although the letter is indistinct in places it identifies several of the figures including his mother and father and three of his siblings as John, James and Mary. In the letter he regrets `...you could not send me that gift of money, it should have been very(acceptable)'. Intriguingly on the 17th June that year, just over six months after he wrote to his family, he deserted his regiment and by the 12th of July had been detained and committed to imprisonment at Chester. The regiment was soon after commissioned to serve in Sydney, New South Wales. Did he intend to use the money to buy himself out of the army? When it was not forthcoming, was the thought of being on the other side of the world too much for this homesick and affectionate son to bear. Was he left with no option but to desert? The Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector. Condition Report: The sheet has been laid down although it is starting to become unstuck at the upper left edge. There is discolouration and staining throughout the sheet, including some brown spots. The colour in general is a little down and the ink text to the lower edge of the sheet is starting to fade. There is a heavy horizontal crease (approx 5cm) to the centre of the right edge and a slightly larger yet lighter crease running up vertically from the right of centre lower edge. General handling creases and wear commensurate with age and fragility of the paper. Slight undulation to the sheet under the glazed frame. Unexamined out of glazed frame.Condition Report Disclaimer
Los 167
λ Boleslaw Jan Czedekowski (Polish 1885-1969)Portrait of Emma MachanekOil on canvas, oval Signed and dated 1911 to canvas folded round the stretcher on the reverse 113 x 92cm (44¼ x 36 in.)Provenance:Commissioned directly from the artist by Max and Emma MachanekBy descent to the present ownerThis work was originally painted as a standard portrait which was reframed in an oval. The influential Machanek family were wealthy industrialists, who owned factories in Moravia, Czechoslovakia until the outbreak of WWII. Max and his wife Emma lived in their villa in Vienna and had one son, Erich. These three portraits were commissioned by Max direct from the artist, Boleslaw Jan Czedekowski (Polish 1885-1969). Czedekowski studied at the Academy of Fine Arts in Vienna and the portrait of Emma Machanek was painted in 1911 the year he graduated. In 1915 Czedekowski joined the army as a soldier before becoming a military artist. After the First World War, Czedekowski rose to prominence as a society portraitist and had studios in Paris and Vienna.
Los 168
λ Boleslaw Jan Czedekowski (Polish 1885-1969)Portrait of Max MachanekOil on canvas Signed and dated 1913 lower right 79 x 62.5cm (31 x 24½ in.)Provenance:Commissioned directly from the artist by Max and Emma MachanekBy descent to the present ownerThe influential Machanek family were wealthy industrialists, who owned factories in Moravia, Czechoslovakia until the outbreak of WWII. Max and his wife Emma lived in their villa in Vienna and had one son, Erich. These three portraits were commissioned by Max direct from the artist, Boleslaw Jan Czedekowski (Polish 1885-1969). Czedekowski studied at the Academy of Fine Arts in Vienna and the portrait of Emma Machanek was painted in 1911 the year he graduated. In 1915 Czedekowski joined the army as a soldier before becoming a military artist. After the First World War, Czedekowski rose to prominence as a society portraitist and had studios in Paris and Vienna.
Los 169
λ Boleslaw Jan Czedekowski (Polish 1885-1969)Portrait of a lady, mother of Emma MachenekOil on canvas, in an oval mounted frame Signed and dated 1913 lower right 79 x 63cm (31 x 24¾ in.)Provenance:Commissioned directly from the artist by Max and Emma MachanekBy descent to the present ownerThe influential Machanek family were wealthy industrialists, who owned factories in Moravia, Czechoslovakia until the outbreak of WWII. Max and his wife Emma lived in their villa in Vienna and had one son, Erich. These three portraits were commissioned by Max direct from the artist, Boleslaw Jan Czedekowski (Polish 1885-1969). Czedekowski studied at the Academy of Fine Arts in Vienna and the portrait of Emma Machanek was painted in 1911 the year he graduated. In 1915 Czedekowski joined the army as a soldier before becoming a military artist. After the First World War, Czedekowski rose to prominence as a society portraitist and had studios in Paris and Vienna.
Los 169
A SILVER SEA-GOING HOT WATER POT FROM THE SERVICE OF ADMIRAL SIR ROBERT TRISTRAM RICKETTS BT each side engraved with his coat-of-arms surmounted with a naval crown, gadroon border and wooden handle, with London hallmarks for 1820/21 -- 8¼in. (21.5cm.); 518gFootnote: Robert Tristram Ricketts (1772-1842) was made a post-captain Oct. 9, 1801, and subsequently commanded the First Rates Ville de Paris, San Josef, and Hibernia, bearing the flags of the Hon. Admiral Cornwallis, Sir Charles Cotton, and Earl St. Vincent. In 1813 he was appointed to the Vengeur (74); and at the close of the following year was conveying Major-General Lambert, and a reinforcement of troops to the army before New Orleans. In February 1815, he commanded the detachment of seamen landed at Mobile to assist in the reduction of Fort Boyer; and Sir Alexander Cochrane, in his official letter on that subject, acknowledges himself indebted to Captain Ricketts for his zeal and exertions in landing and transporting the cannon and supplies, by which the fort was so speedily reduced.
Los 227
A RARE AND HISTORICALLY INTERESTING 4IN. RADIUS POCKET SURVEYING SEXTANT BY JESSE RAMSDEN, LONDON, CIRCA 1794 signed on the T-bar Ramsden London, the arc with chamfered scale directly divided to 130°, vernier with clamp and fine screw adjustment and swivel magnifier, the index arm inscribed Lieut. Col. Twiss, threaded sighting tube arbour, two shades, index mirrors and horizon mirror with adjusting arm and switch, contained within original fitted case of issue -- 6in. (15cm.) wideFootnote: General William Twiss (1745-1827) was a military engineer and integral not only to Britain's defences at the height of the Napoleonic threat, but also to several key British possessions overseas. Attached to the Ordinance Office of the Tower of London in 1760, in 1762 he was sent to Gibraltar as overseer of the King's works, a role which lasted until 1771 when he returned to bolster the defences of Portsmouth Dockyard. In June 1776 Twiss arrived in Canada with General Sir John Burgoyne's army and, having been appointed aide-de-camp to General William Phillips, took part in the operations to clear the insurgent Americans from Quebec province. Sir Guy Carleton, commander-in-chief in Quebec, then made him controller of works for the construction of a fleet to wrest possession of Lake Champlain from the Americans, an objective accomplished with victory at the Battle of Valcour Island in October 1776. The following year, when Burgoyne opened his campaign to enter the Hudson valley, Twiss was appointed his commanding engineer, planning the siegeworks that led the Americans to abandon Fort Ticonderoga on 5 July. Captured shortly after, he was exchanged and sent back to Canada to strengthen Canada's defences. He chose the site of Fort Haldimand on Lake Ontario (1778) and supervised the construction of a temporary citadel at Quebec, work on which began in 1779. Twiss also made important improvements to the navigation of the St Lawrence River, particularly by his fortified canal at Côteau-du-Lac. On 18 December 1778 he was promoted captain-lieutenant and in 1781 he became Canada's commanding engineer. Returning to England in 1783, he was appointed Secretary to the Board and responsible for the defences of Portsmouth and Plymouth DY's, and in 1794, having been promoted lieutenant-colonel (when he doubtless acquired this high-quality sextant), he was also appointed lieutenant-governor of the Royal Military Academy at Woolwich. During the 1790s the threat of French invasion kept Twiss busy on the south coast, and he oversaw the strengthening of the eastern defences of Dover Castle with four new bastions. He subsequently made tours of the Channel Islands (1800) and Ireland (1802) in order to report upon their defences. During the heightened danger of French invasion in 1803 he again looked to the defences of Dover and, on his recommendation, the western heights overlooking the town were fortified. He also sank the grand shaft to connect the barracks on the western heights with the town below. Appointed brigadier-general on 11 February 1804, he was instrumental in helping achieve — despite the dilatoriness of the Ordnance Board — the construction between 1805 and 1808 of a chain of seventy-three Martello towers to guard landing points in Kent and Sussex. Twiss had been promoted major-general on 30 October 1805, and on 24 June 1809, he became colonel-commandant of the corps of Royal Engineers. He retired to Yorkshire in 1810 but was promoted to full general in 1825. The Museum of Royal Engineers in Gillingham has his pocket theodolite, also by Ramsden, Object No. 6303.5.3.Condition report: Fine overall condition retaining much original lacquer. Scale dulled, rubbing to vertical T-section. Front rim of lid missing.
Los 40
Late 3rd century BC. A fine and rare shallow bowl (????????) with low inturned rim, black glazing inside and outside; relief lines beneath the rim; a rosette to the bottom, surrounded by two low relief rings from which a calyx of narrow lotus petals and lanceolate leaves radiate, alternating with acanthus leaves with tips turned to right or to left; the frieze consists of a row of Erotes running to right, each holding a hunting spear with the left hand, while the right hand is protected by the cloak wrapped around the arm, alternating with wild animals, lions, leopards and wild dogs; over it a second frieze of ovules alternating with a couple of vertical lines. See Baur P.V.C., 'Megarian Bowls in the Rebecca Darlington Stoddard Collection of Greek and Italian Vases in Yale University' in American Journal of Archaeology Volume 45 Issues 2, pp.229-248, Yale 1941, s. fig.1913/203 for type. 175 grams, 11.3cm (4 1/2"). From the private collection of Antony John Scammell (1937-2019); acquired from Collector Antiquities, London, UK; from the collection of Dr Bron Lipkin; accompanied by the original certificate of authenticity from Dr Bron Lipkin. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Very fine condition.
Los 299
Early 6th millennium BC. A ceramic figure formed as a seated mother goddess; pinched triangular-profile head, arms held to the body cupping prominent breasts, full thighs and stub legs; series of painted black bands over the body. 120 grams, 92mm (3 1/2"). From the private collection of Antony John Scammell (1937-2019); acquired from C. J. Martin (Coins) Ltd, London, UK, in 1998; accompanied by the original invoice. In the 7th millennium BC, cultures in the Near East began creating organised settlements with developed religious and funerary practices. The Halaf culture of Anatolia and northern Syria produced a variety of figures representing females and associated with fertility. It is not known whether figures such as this were intended to represent real, ideal, or divine women. However, scholars believe that their primary purpose was to encourage female fertility. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fair condition, restored.
Los 139
3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of a Danubian cult: on three plaques the god Sol and the goddess Luna are depicted in profile on the right and the left side of the upper part; on one plaque the sun at the top section driving the sun-chariot with four-horse (quadriga); at the centre of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on two plaques both the riders advancing, holding the draco standard of the Roman legions; a soldier armed like a third century legionary is following the left cavalryman; two plaques with a cockerel, the sacred animal of the sun, foliage and animal symbols representing the divine power and the offerings to the gods on the fields, with scene of banquets; the eagle of Zeus at the top of three plaques; architectural elements on the background of all plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 367 grams total, 79-94mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); all acquired from A. G. & S. Gillis, Barnsley, UK, in 2001; accompanied by a copy of the original invoice. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.
Los 73
2nd-3rd century AD. A bronze chariot fitting representing the bust of a Dionysian satyr or Dionysus himself with young face, long hair arranged in regular locks around the face, wearing a panther skin arranged like an exomis tunic leaving the left shoulder uncovered, positioned on a squared pedestal with platform for the application to the chariot's sides or back; loop on the hollow back for the fastening to the wooden structure of the chariot. See Ratkovi?, D., 'Wagon and Harness Bronzes from the Roman Collection of the National Museum in Belgrade' in Thiasos, Festschrift fur Erwin Pochmarski zum 65. Geburtstag, Wien, 2008, pp.793-815, s. pl.2,2, for similar item. 616 grams total, 16cm including stand (6 1/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. This type of mount was probably used as bridle holders and placed near the driver’s seat, on the wagon platform or as a central decoration on the back of the wagon. The reconstruction of the wagon from the Vardar Valley has a bust of Athena placed on the upper horizontal bar of the roof structure as a decorative element. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.
Los 92
4th-5th century AD. A silver amphora-shaped strap end of a military belt with a fastening hole in the upper part, Latin inscription 'NRBPQD' incised vertically on the front of the plate, probably the initials of the owner and his unit; a possible interpretation is {(NR = Numerus? B = Brittonum P (ublius) Q (uintus) D (ecius) Publius Quintus Decius of the Numerus of the Britanni}. See Southern, P., 'The Numeri of the Roman Imperial Army' in Britannia, Vol. 20, (1989), pp.81-140; Bishop, M. C., Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 2006, figs.137 n. 12, for style of strap ends; Appels A., Laycock S., Roman buckles and military fittings, Witham, 2007, esp. p.256, fig.SL13.26; Humer F., Kremer G., Pollhammer E., Pülz A., AD 313 Von Carnuntum zum Christentum, Bad Voslau, 2014, pp. 204-205 n.420. 5.7 grams, 40mm (1 1/2"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 2013; accompanied by the original receipt. This type of strap end is conventionally called 'amphora-shaped' because of its shape; in reality the strap end hanging down at the front of the soldier is considered to be a symbol for the phallus. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.
Los 566
18th century AD. A two panel wooden portable camp painted icon, representing six scenes of life of Christ and Saints, divided on three levels: the top level is representing the Resurrection of Christ (top left, Jesus Christ rising from death, standard cross in the left hand, Adam and Eve on his right and left), the Crucifixion (top right, Jesus on the Cross in the middle, Saint Mary and Saint John on sides); the middle level representing Saint Gorgis (Saint George) killing the Dragon and Saint Fasiledes; the third level Saint Tewedros (Theodore) killing the enemy of Faith and Saint Geladios, all four saints on horseback. See Jager, O. and Deininger-Englhart. L., 'Some notes on illuminations of manuscripts in Ethiopia' in Rassegna di Studi Etiopici, Vol. 17, 1961, pp.45-60; The British Library, The Christian Orient, London, 1978, for similar style of icons; Aregay, M.W., 'Military Elites in Medieval Ethiopia' in Journal of Ethiopian Studies, Vol. 30, No.1, June 1997, pp.31-73. 464 grams total, 32.7-33cm (13"). Ex central London gallery; formerly in a private collection, New York, USA, 1999. As at the time of the Christian Roman Empire, the Ethiopian Emperor went to war with priests and religious symbols of the Orthodox Faith, like this camp icon for personal prayer or for blessing of the army before the battle. The military character of this icon is underlined by the presence of the four principal military Saints of the Orthodox world, Gorgis, Demetrios, Fasiledes and Thewdros, all in the dress of 17-18th century army élite. [2, No Reserve] Fine condition.
Los 138
3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on one plaque the god Sol and the goddess Luna are depicted on the right and the left side of the upper part, on another one only the facing solar bust at the centre of the upper section; at the centre of three plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on three plaques cavalrymen, advancing, holding the draco standard of the Roman legions; on one plaque Helen is alone on the left side of the section, welcoming one of her brothers who advances with a vexillum on his shoulders; one plaque with a cockerel, the sacred animal of the sun, vegetation and animal symbols representing the offerings to the gods on the field; the eagle of Zeus at the top of three plaques; architectural elements on the background of three plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 433 grams total, 79-94mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); two acquired from A. G. & S. Gillis, Barnsley, UK, in 2002; and two from John Cummings Ltd, Grantham, UK; accompanied by the original invoices for the four plaques. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.
Los 169
1900-1700 BC. A clay tablet containing a forty-one line extract from a Royal hymn, which claims to be written by En?edu'anna, a daughter of the great king Sargon of Akkad; accompanied by a copy of a typed and signed scholarly note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Clay Tablet, 102 x 55 mm., with Section of Sumerian Royal Hymn. This tablet is joined from two pieces with a little loss of text at the break and also due to other damage. However, of the 41 lines of cuneiform script which it contains, the majority are complete and legible. The tablet has a 40-line extract from a hymn which claims to be written by En?edu'anna, a daughter of the great king Sargon of Akkad (c. 2235-2279 B.C."). The total composition consists of 153 lines, and this tablet gives lines 40-79. This tablet is Old Babylonian, c. 1900-1700 B,C., and after the extract has a single line giving a date, but only the day of the month remains. En?edu'anna is claimed as author of quite a few Sumerian texts which survive, and though it is always possible that she employed professional scribes to compose the texts, the very personal matter in some of them does give the impression that they do in fact reflect her thoughts. This hymn is usually known today, as it was in the ancient world by the first phrase, Nin-me-sharra, 'Lady of all the cosmic regulations.' It is in fact is (sic) praise of the goddess Inanna. En?edu'anna was appointed by her father to be high priestess of Nanna, moon-god of Ur, and she held that post for a long time, until the reign of her nephew Nar?m-Sîn, but in a rebellion against Nar?m-Sîn Ur was led by a man Lugal-anne, and according to this hymn he deposed En?edu'anna from her office, which is not surprising. Translation [Lady] who makes glad the [reins], lady [who makes rejoice] the heart, Whose anger is not appeased, the daughter of [Sîn,] the great one, Lady who excels over the land, who has [refused] you worship? In the mountain where you worship is withheld, grain is taboo, Its (the mountain's) great gate you have turned to ashes. Its rivers bear blood for you: its people have nothing to drink. It leads to you its army captive, Its troops break up for you of their own accord. Its strong young men [go before you] of their own accord. A storm has taken over[the city's] dancing, The men and domestic animals are driven before you as captives. Over the city of which it was not said, 'The land is yours,' Of which it was not spoken, 'It belongs to the father who begat you,' You have uttered your holy command, [have turned it back from your way], [Have caused] your foot [to be removed] from its animal pens. Its women [do not speak] pleasantly with their husbands, By night they do not confer [in love], [They do not reveal] the holy things of their bodies. Aggressive wild cow, [daughter of Sîn the great one], Lady superior to An, [who has refused your worship?] One of the right cosmic regulations, great lady [of ladies,] Who came forth from the holy womb, [superior to] the mother[who bore you], Extremely wise one, lady of the lands, Life of the abundant peoples, let me [chant] your holy song! Faithful deity, fitted for the cosmic regulations, It is magnificent to speak of you with power! Merciful, truly pure of heart, let me speak of your cosmic regulations. I enter my holy sanctum, I, high priestess, I En?edu'anna, I carry the basket, I sing the hymn, But now [I am put] in the retreat and have to live thus. The light is extinguished, the day is darkened, Shadows come near, the storm covers (everything"). My honeyed mouth speaks confusion, My pleasant disposition has turned to dust. Sîn, what is this Lugal-anne to me? Speak to An that An may release me, You must [say] to An, 'Now!' [that An may release me.] [This woman will despoil the manhood of Lugal]-anne. [Mountain and flood lie at her] feet. [That woman is] exalted, [she will make the city abandon him.] [Month ....], 18th day, [year .....] This is an important new addition to the textual history of this fascinating personal hymn said to have been written by the king's own daughter.' 168 grams, 10.1cm (4"). Ex central London gallery; acquired 2000 from a UK dealer; acquired by them from an Oxford academic, catalogue number c/1178; examined by the late Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s; and accompanied a copy of a typed and unsigned two page scholarly note and translation by the Professor; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10254-166488. [No Reserve] Fair condition, repaired. Excessively rare.
Los 85
1st-2nd century AD. A small simpulum with a straight pan and flat bottom bearing strongly incised circles on the outside, on the back of the handle, which shows two side flares, a small sieve decorated with a line of points. Cf. Tassinari, S., La Vaisselle de Bronze, Romaine et Provinciale, au Mysée des Antiquités Nationales, XXIXe supplément de Gallia, Paris, 1975, item 38. 182 grams total, 13cm including stand (5"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. The simpulum or simpuvium was a small vessel or ladle with a long handle from the Roman era, used at sacrifices to make libations, and to taste the wines and other liquors which were poured on the head of the sacrificial victims. The simpulum was the sign of Roman priesthood, and one of the insignia of the College of Pontiffs. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Very fine condition.
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