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534297 Los(e)/Seite
![Commando 31-35 (1962). Bright covers, tight spines with light bindery ripples, cream pages [fn] (5)](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/8f712929-59a0-4202-a478-add601033f74/468x382.jpg)
![Commando 36-40 (1962). Bright covers, tight spines with light bindery ripples, cream pages [fn/fn+] (5)](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/ddb871fa-2260-454e-ab85-add6010341d5/468x382.jpg)
![Commando 41-50 (1962). Bright covers, tight spines with light bindery ripples, cream pages [fn/fn+] (10)](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/790e2535-914f-4197-a6cc-add60103440a/468x382.jpg)
![Commando 61-75 (1963). Bright covers, tight spines with light bindery ripples, cream pages [fn] (15)](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/3074231f-8492-48d2-8576-add601034c2e/468x382.jpg)
![Commando 101-125 (1964). Bright covers, tight spines with light bindery ripples, cream pages [fn/fn+] (25)](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/c682fb75-78b3-4d5f-ae98-add6010359c4/468x382.jpg)
![Commando 126-150 (1964-65). Bright covers, tight spines with light bindery ripples, cream pages [fn/vfn] (25)](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/8a2bfe0d-4dde-486b-9d8e-add601036152/468x382.jpg)
![Commando 151-175, 192 (1965). Bright covers, tight spines with light bindery ripples, cream pages [fn/fn+] (26)](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/b5ef66a5-c731-4c2e-a359-add60103671b/468x382.jpg)
![Commando 176-200 (1966). Bright covers, tight spines with light bindery ripples, cream pages [fn/vfn] (25)](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/d405d3ba-49ec-4e17-bfea-add601036da2/468x382.jpg)
![Dandy 134 (Jun 22 1940). Addie and Hermy's cheese gives everyone a gas attack… Bright covers, light tan pages [vg+]](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/5696d443-0daa-41e3-9358-add6010384b2/468x382.jpg)
![POW! No 2 (1967) wfg Spider-Man Transfer. Free gift as new, comic with clean cream/light tan pages [fn+]](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/87d1fc2e-bde6-445c-8261-add60103887e/468x382.jpg)
![Haunt of Fear 23 (1954). Bright cover, cream pages, back cover 2 ins tear and edge chipping [vg], Tales From The Crypt 40 (19](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/79bdc15e-6d8e-4e0e-bc29-add60103f4e4/468x382.jpg)
Los 172
Haunt of Fear 23 (1954). Bright cover, cream pages, back cover 2 ins tear and edge chipping [vg], Tales From The Crypt 40 (1954). Worn, weak spine, cream pages with slightly darker edges [vg-], Vault of Horror 38 (1954). Cover colour touches, cream/light tan pages, 2 ins back cover tear [apparent vg] (3). No Reserve
![Journey Into Fear 4 (1951). Cream/light tan pages, slight crush to lower page edges [vg], Out of the Shadows 5 (#1 1952) ligh](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/c79f0a5c-0006-432d-af5d-add60103fda4/468x382.jpg)
![Marvel Tales (1951-55) 101, 110, 130. #101 light tan pages , rusty staples [vg-], 110 light tan/tan pages, soiled back cover](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/49a3b3cc-bd74-4710-a9ec-add601040404/468x382.jpg)
![Strange Mysteries 1 (1951) 3 vertical spine tears, with the lower one through all (light tan pages) [vg-]. No Reserve](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/c480363b-8c54-43e4-9fa8-add601041107/468x382.jpg)
![Strange Tales (1953-56) 17, 44, 46. #17: cream pages, light tan interior covers, 2 ins top spine split [gd], 44: 1½ ins lower](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/1d81d1e1-7570-4ca7-b851-add601041610/468x382.jpg)
![Amazing Spider-Man 35 (1966). Cents copy, light tan pages, front cover RH edge chip, ½ ins back cover tear [vg/fn]. No Reserv](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/07d59367-6bdc-45d2-8f5f-add6010438a1/468x382.jpg)
Los 2
Ally Sloper's Half-Holiday (1908-09) 1257, 1262, 1274, 1283-86, Christmas Holiday 1908 (with Song Sheet, without Gratis Plate), 1288-1316 in a bound volume. Nos, 1283, 1287 with worn, torn covers [fr/gd], 1293: 1/5th of back page cut out, 1297: half back cover cut out [vg-], 1289, 1316 worn back covers [gd], balance issues cream/light tan pages [vg/fn-] (37)
![Tales of Suspense 7 (1960). Good cover gloss, Marvel chipping to RH cover edge, light tan pages, cents copy [vg]. No Reserve](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/67baebfc-5fb0-4ae7-b63a-add601049a2c/468x382.jpg)
Los 24
Magic Comic (1940-41) 25-80 (final issue). In bound volume. Propaganda war issues. E. H. Banger's Koko the Pup delivers the mail to the front line/blows up a U-Boat/teaches everyone how to wear a gas-mask. Kipper-Feet, the young walrus captures the crew of a German submarine and a Nazi pilot 'Hates ze Tickler Twins'. Also starring Peter Piper and Gulliver by Dudley Watkins, Herr Paul Pry the Nasty Spy, Sooty Snowball (by Robert McGillavray) who brings down a Luftwaffe pilot with his scrapyard magnet. Magic Comic only ran for 80 issues, being sacrificed by D.C. Thomson to keep Beano and Dandy going during the war. Bright covers, cream/light tan pages with some tears and light edge moisture stains. No 25 with well worn cover detached from binding [fr/gd], No 42 with R.Hand page edge creasing and wear (not affecting text or illustrations) [vg-], No 43 (as No 42) with 3 ins square piece torn away from interior page [gd/vg]. Balance 53 issues [vg/fn-] (56)
![Batman 171 (1965) The Riddler. Cents copy, light tan pages [vg]. No Reserve](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/431d6c19-d897-4bfc-be4b-add60104bf67/468x382.jpg)
Los 25
Magic Comic (1940) 25-29. Propaganda war issues with Koko the Pup by E. H. Banger, Peter the Piper by Dudley Watkins. Retrieved from bound volume, sew-holes and tears to worn spines, light tan/tan pages trimmed. No 25: moisture stains to margins and brittle edges [fr/gd], balance 4 issues [gd] (5). No Reserve
![Detective 359 (1967) Meet the New Batgirl! Cents copy. Cream/light tan pages, one inch lower spine split [vg]. No Reserve](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/f1c34377-f82b-4c8a-be0a-add60104e52e/468x382.jpg)
Los 26
Magic Comic (1940) 30-34. Propaganda war issues. 'Order next week's Magic Comic - Don't let the Black-Out Stop You!' No 32 Paper Shortage message to top cover margin. Bright covers, retrieved from bound volume, sew-holes and tears to worn spines, trimmed, light tan pages [gd-/gd] (5). No Reserve
Los 27
Magic Comic (1940) 35-39. Propaganda war issues. No 36: Bumper Easter Fun Number, No 37 April Fool, Tootsy McTurk points the way to the Air Raid shelter - with his feet! Bright covers, comics retrieved from bound volume, sew-holes and tears to worn spines, trimmed light tan pages [gd] (5). No Reserve
Los 28
Magic Comic (1940) 40-44. Propaganda war issues. 'Meet this new bloke - he ain't a chum - He's one of Hitler's spies, by gum!' 1st Herr Paul Pry the Nasty Spy. Uncle Dan The Magic Man blows up a mine on the beach, Sooty Snowball sets off an air raid siren. Peter Piper captures a German Spy. Bright covers, comics retrieved from bound volume, sew-holes and tears to worn spines, trimmed light tan pages [gd] (5). No Reserve
![Strange Adventures 113 (1960). Cents copy. High cover gloss, light tan pages [vfn+]. No Reserve](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/f2a67936-7f6f-4cfd-ba3b-add60105340f/468x382.jpg)
Los 29
Magic Comic (1940) 45-50. Propaganda war issues. Sooty Snowball brings down a Nazi fighter and sinks a U-Boat. Herr Paul Pry gets torpedoed and Hitler hails him! Bright covers, comics retrieved from bound volume, sew-holes and tears to worn spines, trimmed light tan/tan pages [gd] (6). No Reserve
Los 3
The Thriller (1937) 413-464. Near complete year missing 415, 416, 418, 419. Featuring 'The Toff' by John Creasy, The Saint by Leslie Charteris, Dames Don't Care by Peter Cheyney. Steeley adventures by Capt. W. E. Johns and The Great Knock-Over by Dashiell Hammett. Bright covers, some worn spines, rusty staples, cream/light tan pages. No 413 trimmed, with clear tape to the spine [gd], balance issues [vg-/vg+] (48)
![Dandy Books (1953-56). 1953 no dedication [fn], 1954 [vg/fn], 1955 no dedication [vg], 1956 erased pencil dedication [vg]. Al](https://cdn.globalauctionplatform.com/0faac1b9-1822-4367-9cad-add600fe7715/8b4fb69c-0abc-4917-a63d-add601060516/468x382.jpg)
Los 5
The Thriller (1939-40). 1939: 518-569 near complete year missing issue No 532. With 1940: 570-578. Starring The Shadow by Maxwell Grant, Ironside of the Yard by Victor Gunn (Edwy Searles Brooks) and The Gang Smasher by Hugh Clevely. War shortage 'IMPORTANT NOTICE' to later back covers: "... Ships may be sunk.. so tell your newsagent to order the exact number of Thrillers you want and no more!" Cream/light tan pages with rusty staples. A few issues [gd], balance [vg-/vg+] (60)
Los 385
Ca. 664 - 332 B.C. Late Dynastic Period. Egypt. An Ancient Egyptian re-strung necklace made of faience in yellow, green, blue and red disc-shaped beads. A composite amulet in a light blue glazed faience of the dwarf-bodied god Pataikos adorns the necklace. A suspension hole through the neck for suspension. In ancient Egypt, amulets were believed to have positive properties, that magically, would bestow upon its owner and wearer. Throughout Egypt’s long history, people wore amulets to avoid disease and other forms of misfortunate. Amulets were used as a magical talisman to ensure well-being and good fortune. Amulets were made in huge abundance and were inexpensive to most when crafted in faience, which was available to nearly everyone. However, other forms of amulets were made of expensive materials such as gold, silver and semi-precious stones, which were believed to be more durable and everlasting. Aside from wearing amulets during daily life for health and well-being, they were also used for the dead and were placed on the mummy or inside the bandages of the deceased. Amulets were often small, varying between mm to a 2 1/2 “. Pectoral scarabs and other forms of amulets were larger than the average funerary amulet. For amulets of Pataikos see Carol Andrews, Amulets of Ancient Egypt 1994. William Flinders Petrie, Amulets, 1914. The Brooklyn Museum https://www.brooklynmuseum.org/opencollection/objects/117565 Accession Number: 37.988E Provenance: Private UK collection; From an old Oxford collection formed in the 1990s. Size: L:255mm / W:mm ; 9.1g
Los 13
Ca. 618–907. Tang Dynasty. A beautifully modelled terracotta male attendant standing on a flat base. The figure is shown with head turned in a responsive gesture; one hand is at his chest with a finger pointing to his left whilst the other arm lies along the body, the hand within the long red sleeve decorated with white flowers. A long light-blue tunic tied a the waist by a dark belt is worn over light blue pantaloons. Pointed shoes complete the attire. He has a finely modelled face with rosy cheeks and traces of red paint on the lips, whilst his cloth cap is black and fastened underneath the chin. In China, the custom of producing ceramic tomb sculptures reached its pinnacle during the Tang dynasty, one of the most peaceful, prosperous, cosmopolitan eras in China’s history. The Tang capital of Chang’an (present-day Xi’an, Shaanxi province) attracted numerous foreign traders, pilgrims, and goods, as the famed overland trade route known as the Silk Road terminated in this city. Large sets of ceramic sculptures representing the horses, camels, and foreign merchants that frequented northern China have been recovered from burials. Tang ceramic funerary retinues were especially elaborate, featuring fierce armoured guards, proud court attendants such as this item, and aristocratic equestrians engaged in leisurely pursuits—all serving to demonstrate the high status of the tomb occupant. For more general information on the Tang Dynasty, see Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:510mm / W:180mm ; 2.8kg
Los 2
Ca. 202 BC–220 AD. Han Dynasty. A well-modelled, pottery standing female dancer with arms stretched out in opposite directions, the hands well hidden within the long, voluminous sleeves of the tight-fitting robe, the face carved with delicate features and the hair pulled back behind the ears and gathered into a knot on the back. The elegant clothing comprises flowing, long-sleeved robes decorated with red and light blue inserts on the neckline, waist, and sleeves. The figure retains most of the original white slip and there is additional decoration in pink and black to show the facial features and the hair. The potters have succeeded in imparting a vibrant sense of fluidity to the standing figure, displaying realism in the stance and adding movement and dimension by the curves of the long-draped sleeves. The Han dynasty is the second great imperial dynasty of China (202 BC–220 AD), after the Zhou dynasty (1046–256 BC). It succeeded the Qin dynasty (221–207 BC). So thoroughly did the Han dynasty establish what was thereafter considered Chinese culture that “Han” became the Chinese word denoting someone who is ethnically Chinese. The cultural milieu of the Han dynasty is well documented, and we know, for instance, that they were patrons of music — as this dancing lady indicates — and that, in temple rituals, dance was often an important element. For a comparison piece of the standing dancers, see https://www.christies.com/lot/lot-4284799. To find out more about the Han dynasty and its material culture, see Miller, A. R. (2021). Kingly Splendor: Court Art and Materiality in Han China. New York: Columbia University Press. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets. Size: L:495mm / W:390mm ; 5.5kg
Los 64
Ca. 1368–1644 AD. Ming Dynasty. An elaborate male figure with beautifully glazed pigment. The man is standing with his feet apart on a large lotus throne on top of a high hexagonal plinth. He is dressed in a long green coat lined with yellow and tied at the waist by a light pink belt. He is wearing dark shoes and a high conical hat with elaborate decoration. His face shows a calm expression with closed eyes, a broad nose, and small lips. The hair preserves traces of a dark colour. He is carrying what appears to be a scroll on his left shoulder and the left hand grasps the string across his chest, while the other arm lies at his side. These types of figurines were tomb attendants, a class of artefacts called 'mingqi' – sometimes known as "spirit utensils" or "vessels for ghosts". They became popular in the Han Dynasty and would persist for several centuries. Alongside figures like this one were musicians, athletes, and animals. Mingqi often show a high level of detail and naturalism. These were designed to assist the 'po', the part of the soul of the deceased that remained underground with the body while the 'hun', the other part of the soul, ascended. Hundreds of pottery figures like these were placed into tombs during the Ming period. In one undisturbed Ming Dynasty prince's tomb, archaeologists found an array of small figures placed as if in ceremonial procession; the deceased's books, paintings, clothing, and other personal effects were also present. Good condition. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm). Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:550mm / W:130mm ; 3kg
Los 125
Ca. 200–400 AD. Roman. An iron spatha with a long tapering, bevelled blade, and a reconstructed bone hilt with a flat circular pommel and guard, and a cylindrical grip with ribbed decoration. Good condition; custom-made stand included. Starting around the late 2nd century AD, the Romans began adopting the long, double-edged swords called 'spathae', which were originally only used by the Germanic peoples. The Roman spatha was a key part of Roman military equipment used in war and gladiatorial fights. In literature, the spatha appears in the Roman Empire in the 1st century AD as a weapon used by presumably Germanic auxiliaries and gradually became a standard heavy infantry weapon from the late 2nd century onwards, relegating the gladius to use as a light infantry weapon. The spatha replaced the gladius in the front ranks, giving the infantry more reach when thrusting. While the infantry's spathae had a long point, versions carried by the cavalry had a rounded tip that prevented accidental stabbing of the cavalryman's own foot or horse. Good condition; custom-made stand included. To find out more about spathae, see Bishop, C. C. (2020). The Spatha: the Roman Longsword. Bloomsbury Publishing. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:810mm / W:60mm ; 660g
Los 369
Ca. 50–200 AD. Roman. A gold ring with a circular band flaring towards the shoulders, which are decorated with scrolls. The flower-shaped bezel is inset with a beautiful agate stone cabochon in a dark brown and light blue hue. For a Roman ring with a similar agate stone cabochon, see https://onlineonly.christies.com/s/ancient-jewelry-wearable-art/roman-gold-banded-agate-finger-ring-mercury-9/23625. To find out more about Roman jewellery production, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. Provenance: Private UK collection; From an old Oxford collection formed in the 1990s. Size: D: 18.2mm / US: 8 / UK: Q; 13.1g
Los 14
Ca. 618–907 AD. Chinese Tang Dynasty. A beautiful terracotta horse standing upon a flat rectangular base with a long neck artistically turned up. The cream-coloured short mane and docked tail are in contrast with the deep amber body. A cloth with traces of light blue pigment is draped over the saddle, which also shows traces of the same greenish/light blue colour. Warhorses were the pride of the Tang, a dynasty of prosperity, military expansion, and artistic achievement. Emperor Xuanzong, for instance, displayed great passion for his mounts commissioning paintings from the famed artist Han Gan (ca. 706–783 AD). In the Lidai minghua ji (‘Record of famous painters of all periods’; 847), Zhang Yanyuan noted that Emperor Xuanzong ‘loved large horses and ordered Han to paint the most noble of his more than 400,000 steeds’. It is easy to speculate that Han Gan’s distinctive style which captures the animals in spirited movement, emphasizing their powerful, rounded and muscular forms while retaining an easy naturalism, influenced the artisans who sculpted the present horse. For more information on the importance of horses in China, see Cooke, B. (ed.) (2000). Imperial China – The Art of the Horse in Chinese History: Exhibition Catalogue. Kentucky Horse Park, Lexington. For more general information on the Tang Dynasty, see Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:670mm / W:640mm ; 16.15g
Los 87
Ca. 200–400 AD. Late Roman. A beautiful legionary sword of the 'spatha' type. This broad parallel-sided spatha has a convergent tip and a slender tang protrudes from the back end, which would have been wrapped with a handle made of bone or ivory meant to increase the soldier's grip while imbuing the weapon with an attractive presentation. The spatha is accompanied by its bronze scabbard, which has four panels decorated with openwork triangles and concentric circles. Starting around the late 2nd century AD, the Romans began adopting the long, double-edged swords called 'spathae', which were originally only used by the Germanic peoples. The Roman spatha was a key part of Roman military equipment used in war and gladiatorial fights. In literature, the spatha appears in the Roman Empire in the 1st century AD as a weapon used by presumably Germanic auxiliaries and gradually became a standard heavy infantry weapon from the late 2nd century onwards, relegating the gladius to use as a light infantry weapon. The spatha replaced the gladius in the front ranks, giving the infantry more reach when thrusting. While the infantry's spathae had a long point, versions carried by the cavalry had a rounded tip that prevented accidental stabbing of the cavalryman's own foot or horse. Good condition; custom-made stand included. To find out more about spathae, see Bishop, C. C. (2020). The Spatha: the Roman Longsword. Bloomsbury Publishing. Provenance: Private UK collection; formerly with K.A, acquired on the German art Market pre-2000. Size: L:780mm / W:47mm ; 845g
Los 68
Ca. 202 BC–220 AD. Han dynasty. A beautiful and rare Chinese Han dynasty pottery duck with bronze legs. The duck is standing on its detailed bronze legs which support a globular, squat body and a short neck terminating in a red coloured head with a light-coloured beak and open, attentive eyes. The body is decorated with brownish and green glaze, imitating the animal's plumage. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. To find out more about the Han Dynasty and its art production, see Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:130mm / W:135mm ; 430g
Los 89
Ca. 200–400 AD. Roman. An iron spatha with a long tapering, bevelled blade, and a reconstructed bone hilt with a circular pommel and a cylindrical grip with ribbed decoration. Good condition; custom-made stand included. Starting around the late 2nd century AD, the Romans began adopting the long, double-edged swords called 'spathae', which were originally only used by the Germanic peoples. The Roman spatha was a key part of Roman military equipment used in war and gladiatorial fights. In literature, the spatha appears in the Roman Empire in the 1st century AD as a weapon used by presumably Germanic auxiliaries and gradually became a standard heavy infantry weapon from the late 2nd century onwards, relegating the gladius to use as a light infantry weapon. The spatha replaced the gladius in the front ranks, giving the infantry more reach when thrusting. While the infantry's spathae had a long point, versions carried by the cavalry had a rounded tip that prevented accidental stabbing of the cavalryman's own foot or horse. Good condition; custom-made stand included. To find out more about spathae, see Bishop, C. C. (2020). The Spatha: the Roman Longsword. Bloomsbury Publishing. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:870mm / W:70mm ; 965g
Los 233
Ca. 945 - 332 B.C. Third Intermediate Period to Late Period. Egyptian. A group of Egyptian faience antiquities including a composite /statuette of the torso of the Ibis-headed god Thoth who was patron of scribes and the recorder of the decision of the deceased in the weighing of the heart ceremony in the Book of the Dead. Richly formed in a dark green glazed faience upon a trapozeidal base. Arms raised at the chest holding writing implements. In the centre, a long light blue faience composite amulet of the crocodile god Sobek with his long stretched tail and scales depicted moulded to a high standard. A suspension hole through the head to provide the attachment to a necklace or bracelet. Lastly, a shabti figure formed of a glazed faience of an overseer, one hand seen outretched at his side.In ancient Egypt, amulets were believed to have positive properties, that magically, would bestow upon its owner and wearer. Throughout Egypt’s long history, people wore amulets to avoid disease and other forms of misfortunate. Amulets were used as a magical talisman to ensure well-being and good fortune. Amulets were made in huge abundance and were inexpensive to most when crafted in faience, which was available to nearly everyone.However, other forms of amulets were made of expensive materials such as gold, silver and semi-precious stones, which were believed to be more durable and everlasting. Aside from wearing amulets during daily life for health and well-being, they were also used for the dead and were placed on the mummy or inside the bandages of the deceased. Amulets were often small, varying between mm to a 2 1/2 “. Pectoral scarabs and other forms of amulets were larger than the average funerary amulet.These funerary amulets would provide magical properties to the deceased, ensuring an eternity of good health and well-being. A few examples of popular amulets were the heart scarabs, usually larger than the average naturalistic scarabs. These were usually formed of rich hardstone with a chapter from the book of the dead asking its heart not to tell of his or her misdoing through life, during the weighing of the heart ceremony. The heart would be placed on the scales and weighed against the Maat feather. This is where our modern-day saying light as feather derived.The Ib heart, an amulet in the shape of a heart, was believed to hold the deceased essence and thought and feeling. The Four Sons of Horus plaque amulets used to protect the organs of the deceased; these were Imsety, the human headed deity protector of the liver; Duamutef, the jackal-headed deity, protector of the stomach; Hapi, the baboon headed deity, protector of the lungs; and finally, Qebehsenuef, the falcon-headed deity, protector of the intestines. These were placed lovingly in the bandages to protect the deceased organs for use in the afterlife.Amulets of similar forms see: Carol Andrews, Amulets, 1994.William Flinders Petrie, Amulets, 1914. Provenance: From a London private family collection, formerly acquired on the UK art market in the 1960s - 1970s; then passed by descent. Size: L:Set of 3; 45-65mm / W:44489mm ; 20g
Los 160
Ca. Late 3000–Early 1000 BC. A large and finely polished fish-shaped axe in light beige stone, with an asymmetric convex cutting edge tapering to shouldered and 'hammer' butt, a hole has been drilled to receive a handle. Provenance: Private UK Collection. Danish collection, 1950s-1990s. Private Belgium collection between 1997-2007; then sold to a British collector. Size: L:190mm / W:60mm ; 895g
Los 70
Ca. 206 BC–220 AD. Han dynasty. A beautiful terracotta bird with a light red body, black head and tail, green wings and legs. Historical texts indicate that tombs were meant to contain a generous supply of the same goods and utensils that served a living person, and earthenware animals like this bird may have served as part of the food supply sustaining the deceased in his afterlife. For a similar terracotta bird, see https://www.metmuseum.org/art/collection/search/640950. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:150mm / W:205mm ; 450g
Los 11
Ca. 618–907 AD. Chinese Tang Dynasty. This elegant court lady stands on a flat base. Her hands are held close to her body and they support a small brown dog, which rests on her chest. Her red, light blue and cream-coloured long robes fall in heavy folds that emphasize the graceful sway of her body. Her head is turned slightly to the side and the face is sensitively modelled with full rosy cheeks, a small mouth and elongated eyes, and is framed by the stiff wings of her coiffure which is drawn up and then divided into two soft loops. This stately, elegant figure exemplifies the ideal standards of beauty and fashion that prevailed during the high Tang period of the 8th century in China. During this period, a more voluptuous body type had become fashionable, which was reflected in women's robes being long and loose-fitting, and their hair was worn in fuller hairstyles that framed the face. Other painted pottery figures representing this type of court lady are illustrated in The Quest for Eternity – Chinese Ceramic Sculpture from the People's Republic of China, Los Angeles County Museum of Art, 1987, pp. 139-40, nos. 83-84, and col. pl., p. 56. Several paintings on silk, from Turfan, of women that are similar in type to the present figure, depict them with pink cheeks, to indicate the use of rouge, which is seen on the full cheeks of the present figure – see The Ancient Art in Xinjiang, China, 1994, pp. 86-7, pls. 210, 213 and 215. The hairdo of the present figure is very similar to that of a court lady of similar type painted on a Tang dynasty (784) mural at Wangjiafen, Xian, illustrated by P. Karetsky in Court Art of the Tang, Maryland, 1996, p. 274. For another similar figure sold at Christie's, see https://www.christies.com/en/lot/lot-5776675. For more general information on the Tang Dynasty, see Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:480mm / W:190mm ; 4.9kg
Los 290
Ca. 100–300 AD. Roman. A finely blown flask in a light-blue coloured glass. The vessel features a flat, spherical body, a long cylindrical neck slightly constricted at the base, and an everted folded rim. The passing of time has created a beautiful iridescence on the glass’ surface. While glass-making had been practised for centuries, the Romans invented the glassblowing technique in the 1st century BC, which revolutionized this craft. Roman glassmakers reached incredible artistic heights with both free-blown vessels and mould blown forms and decorations. To find out more about glass objects in the Roman world, Bayley, J., Freestone, I., & Jackson, C. (2015). Glass of the Roman World. Oxford And Philadelphia: Oxbow Books. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:125mm / W:60mm ; 24.2g
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