Northern Europe, Ca. 700–900 AD. A beautiful silver pendant with an integral loop shaped like a bearded Viking axe head. Good condition. This type of amulet is modelled after the axe Molnia and is often seen as a counterpart to the common Mjölnir amulet. Some associate these axe pendants with Perun who was the ruler of the living world, sky and earth who used the axe to kill the snake that stole the earthly light. For more information on Viking jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala & Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65.Size: L:30mm / W:13mm ; 3gProvenance: Private London collection since the 1990.
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Viking Age, Ca. 900–1100 AD. A beautiful pendant in the shape of an axe. The curved miniature bronze axe-head is of the Scandinavian type, with a long gently curved blade and recurved horns to the inner edges; a hole is punched through the centre. The shaft hole is to be used as a loop for the necklace's chain. This type of amulet is modelled after the axe Molnia and is often seen as a counterpart to the common Mjölnir amulet. Some associate these axe pendants with Perun who was the ruler of the living world, sky and earth who used the axe to kill the snake that stole the earthly light. For more information on Viking jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala & Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65.Size: L:30mm / W:45mm ; 8.8gProvenance: Private London collection since the 1990.
Viking Age, Ca. 700–900 AD. A silver amulet of a stylised hammer with a slightly asymmetrical head and a tapering shaft. This type of amulet is modelled after the axe Molnia and is often seen as a counterpart to the common Mjölnir amulet. Some associate these axe pendants with Perun who was the ruler of the living world, sky and earth who used the axe to kill the snake that stole the earthly light. For more information on Viking jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala & Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65.Size: L:245mm / W:mm ; 50gProvenance: Private London collection since the 1990.
Late Period, 30th Dynasty, Ca. 332 BC. A group of three light blue faience ushabti figures, each wearing a tripartite wig, a false beard, and with arms crossed on the chest. Shabtis, also known as ushabtis, are Egyptian tomb offerings intended to serve and assist the dead in the afterlife. Ushabtis are usually inscribed with titles, names, and sometimes parentage of the individual that dedicated them. Such figurines could also be inscribed with passages from the book of the dead so as to secure safe passage for the deceased on their journey to the underworld.Size: L:70-73mm / W:17-18mm ; 25gProvenance: Private London collection; ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
Ca. 900-100 AD. A forged-iron axe head of a hefty form with a perforated socketing shaft, a dense neck, and a vertically oriented blade with gently flared tips. Very fine condition. Mounted on a custom-made display stand. Axes were commonly used within the Viking communities, almost everything was formed of wood making it unsurprising that many axes existed for constructing ships, houses, carts, as well as other objects. The axe was also one of the choice weapons of the battlefield due to its light weight.Size: L:148mm / W:72mm; 235gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Late Period, 30th Dynasty, Ca. 332 BC. A group of three ushabti figures, each moulded in a light-blue, glazed faience, wearing a tripartite wig and divine braided beard. The chest with folded arms, clenching a pick and hoe. The lower body has been inscribed with hieroglyphs. For comparable shabtis see: Janes, G, Shabtis a Private View.Size: L:61-73mm / W:15-18mm ; 25gProvenance: Private London collection; ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
Late Period, 30th Dynasty, Ca. 332 BC. A group of three light blue faience ushabti figures, each wearing a tripartite wig, false beard, and hands are crossed holding hoes. During the Late Period tomb figures became known as ushabtis ('answerers'), these figures represented servants who would magically answer when called upon to perform agricultural duties for the Pharaoh (in the form of Osiris) in the afterlife. Their main function was to ensure the individual's comfort and freedom from daily labor in the next life.Size: L:65-70mm / W:14-15mm ; 25gProvenance: Private London collection; ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
Ca. 2000 - 1000 BC. A finely carved Bactrian cosmetic palette made from a light-weight stone possibly anthracite. Rectangular in shape with a recessed centre containing a hollow middle. The top border and all four sides are decorated with concentric circles. Two walls are decorated with mirrored birds facing outwards. The corners of the palette are pierced with suspension holes.Size: L:65mm / W:125mm ; 785gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 3000 BC. A group of four alabaster votive vessels, each of cylindrical form with drilled interior. The vessels are made of a fine, light alabaster, and feature a flat base and rather flared lip. The Bactrian culture, which flourished in the modern day Central Asian countries of Afghanistan, Iran, and Uzbekistan, had a long and storied history of using alabaster for their vessels. Alabaster was a highly prized material, and it was used to create a variety of vessels for different purposes. Cylindrical alabaster vessels were used for storing food, for burying the dead, and for religious ceremonies.Size: L:75-100mm / W:35-45mm ; 810gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 549-577 AD (or later). A grey stone torso of a standing Buddha. The torso stands upright, and wears a light, billowing robe gathered by a belt around the navel. The folds of the robe had been elegantly moulded to create a sense of motion. Long chains of clustered beads hang from the neck. The Northern Wei dynasty ruled northern China from ca. 386 to 534 AD and its most famous achievement was unifying a large empire following a long period of social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of which relate to the Buddhist religion, as this object exemplifies.Size: L:572mm / W:55mm ; 13.26kgProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 660-525 BC. This Ancient Egyptian New Year’s faience flask is a beautiful and intricate piece of artwork from the 26th Dynasty. Crafted from sintered-quartz ceramic (faience), the flask is adorned with a light blue glaze, rosette and lotus flowers, and incised borders on the neck with two arched handles flanking the sides. The flask is a reminder of the ancient Egyptians’ belief in the powers of rebirth and the undying shimmer of the sun.Size: L:57.5mm / W:40mm ; 37.52gProvenance: Property of a London Art gallery; formerly acquired from a Belgium collector in 2006; formerly in an old French collection since the 1960s.
Ca. 100-200 AD. An elegant glass flask featuring a globular body leading to a narrow neck with a straight rim. The vessel sits on a hollowed flat base. Roman glass expanded upon Hellenistic techniques with the arrival of glass blowing in the 1st century, popularising the material and allowing the manufacture of vessels that looked ethereal, then and now, with swirling colours that catch the light magnificently. Although the Romans did not invent glass, they certainly revolutionised it. Developing techniques of glass blowing, it allowed them to create unusual shapes, make the glass thinner and have it be accessible for large proportion of the population.Size: L:53mm / W:48mm ; 20gProvenance: Private London collection since the 1990.
Ca. 1-200 AD. A very fine terracotta oil lamp depicting on the mirror a left-facing walking stag. The perimeter is decorated with set of circumferential grooves. The looped handle to the rear, and two lateral protrusions opposing each other. To find out more about light equipment across the Classical world see Zhuravlev, D. (2002). Fire, light and light equipment in the Graeco-Roman world. Oxford: Archaeopress.Size: L:110mm / W:85mm ; 90gProvenance: Private UK collection since the 1980s.
AD 527-538. Justinian I Av. solidus, AD 527-538, Constantinople, 6th officina. D N IVSTINI-ANVS P P AVG; helmeted and cuirassed bust facing, holding globus cruciger, shield on left shoulder. Rev. VICTORI-A AVGGG and officinal letter; angel standing facing, holding long staff surmounted by staurogram and globus cruciger; star to right; mintmark CONOB. DOC 9f.3; MIBE 7; SB 140. Lustrous, slight bend in flan, scratches and cleaning scratches, light deposits on reverse. Good, very fine, gold. Size: 20.5mm, 4.53 g, 7hProvenance: Private London collection.
AD 582-602. Maurice Tiberius Av. semissis, AD 582-602. Constantinopolis. ? N mAVRI P P AV; pearl-diademed, draped and cuirassed bust of Maurice Tiberius facing right. Rev. VICTORIA AVGG / CONOB; victory advancing right, head to left, holding wreath in her right hand and globus cruciger with her left; star in field to right. DOC 12a. MIB 17a. SB 485. Light deposits on the obverse, otherwise, good very fine, gold. Size: 20 mm, 2.18g, 6h.Provenance: Private London collection.
AD 1071-1078. Michael VII Ducas Au,Ag. histamenon, AD 1071-1078, Constantinople. IX-XC to left and right of the facing bust of Christ Pantokrator. Rev. +MIXAHA RACIA O D; crowned facing bust of Michael VII, wearing loros, holding labarum and globus cruciger. DOC 2c.1; SB 1868. Lustrous, obverse double struck, a couple of light scratches. VF. Electrum. Size: 29.5mm, 4.34 g, 6hProvenance: Private London collection.
Ca. 1900 BC. A clay cuneiform tablet in a light brown fabric with a written script. Cuneiform (from cuneus, Latin for "wedge") writing, which derives its name from the distinctive shape of its letters, is one of the earliest forms of writing and developed in ancient Mesopotamia in the 4th millennium BC.Size: L:90mm / W:60mm ; 165gProvenance: Property of a North London gentleman; previously acquired on the UK/European art market in the 1970s.
Late Period, 30th Dynasty, Ca. 332 BC. A mummiform figure in the form of an ushabti, moulded in a light-blue, glazed faience, wearing a tripartite wig and divine braided beard. The chest with folded arms, clenching a pick and hoe. The Egyptian idea of Paradise ('Sekhet Aaru' - "the Field of Reeds”) was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze, a hoe, and a seed bag to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6).Size: L:125mm / W:40mm ; 70gProvenance: Private London collection; ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
A contemporary French grey painted two-seater sofa, in the Louis XV taste, having twin squab cushions, and raised on cabriole tapering supports, width 135cmVery good condition overall. Some light wear to the frame most notably on the arms. Fire label underneath, upholstery is good with some light marks. Cushions are reversable, but would have to swap sides.
A Chinese blue & white glazed porcelain ginger jar, decorated in the prunus pattern, height 19cm, together with another similar, height 22cmThe larger jar with light marks and wear, firing cracks to base. The smaller jug with hairlines to underside. Light marks and firing marks to glaze throughout.
1890-95 Birr Castle electric light bulb. An exceptionally large incandescent light bulb, in the manner of Edison and Swan, with 'hairpin' filament, typical of Edison bulbs, and two terminals. Designed to be hung in a large space, not tested, 10" (25.5cm) high. Purcell Auctioneers Birr, 12th Oct 2014 where purchased by the current owner. A hydroelectric turbine was installed in the grounds of Birr Castle in 1879 by Lawrence Parsons, 4th Earl of Rosse both to provide light and to facilitate his experiments in electroplating.
A W. Goebel bisque socket head doll, with blue glass sleeping eyes, open smiling mouth with four top teeth, brown wig, jointed composition body, in white dress, 21½" (55cm) high, marked 'WG (monogram crowned) B1-9 - Bavaria'; and a John Bing [S. & Q.] bisque socket head doll, with a replacement light brown wig, sleeping blue-grey glass eyes, and an open mouth with two upper teeth, on a five-piece bent-limb composition body, the head impressed '201 - S&Q - Germany'17" (43cm) high.
A Mont Blanc Meisterstuck Platinum Line Hommage a Frederic Chopin fountain pen, in black resin with white metal mounts and snowcap logo to cap, the nib engraved 4810 14k MONTBLANC 585, the clip band engraved CL1328382 GERMANY, in fitted Hommage a Frederic Chopin box labelled 2859 P145, with service guide and Mont Blanc Philharmonia of the Nations cased CDWith light surface marks but appears to have been little used.

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