Old Kingdom, Ca. 2600 - 2200 BC. An alabaster jar with a globular body that tapers slightly towards a ring base. The shoulder curves smoothly into a short cylindrical neck, leading to a broad, everted rim with a rounded lip. A subtle ridge encircles the upper section just below the neck. The surface displays natural veining and tonal variations typical of alabaster, with a smooth, polished finish. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: Lightbody D.I., Egyptian Alabaster: New Light on the Alabaster Vessels of Ancient Egypt, Vessel 3, pg. 39.Size: 100mm x 95mm; Weight: 400gProvenance: Private European collection; formerly acquired on the London art market in 2002.
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Ca. 550 - 450 BC.A terracotta jug with a rounded body, a wide flaring mouth, and a single vertical handle extending from the rim to the shoulder. The vessel is decorated with geometric patterns in dark pigment over a light ground, encircled by horizontal bands of varying thickness, interspersed with rectangular panels filled with cross hatching and linear motifs.For similar see: Christie's, Live Auction 2450, Antiquities, Lot 118.Size: 170mm x 150mm; Weight: 555gProvenance: Property of a central London gallery, previously acquired on the Dutch art market; previously acquired on the Belgium art market; Daniel Bogaerts, Brussels, 1995.
Ca. 3700 - 3500 BC. A stone eye idol featuring a rectangular body with a flat base and straight sides. The figure is topped with a pair of almond-shaped eyes with recessed pupils. The rear of the idol is flat and unadorned. Its surface is light beige, marked with patches of darker brown, revealing natural variations in the material.For similar see: The British Museum, Museum number: 126229. Size: 70mm x 55mm; Weight: 100gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Ca. 200 - 1 BC.A core-formed glass amphoriskos with an inverted piriform body tapering to a rounded knob at the base. Two vertical handles extend from the upper shoulder to the flaring rim, which is encircled by a turquoise trail along the edge. The neck is decorated with alternating yellow and light blue horizontal bands. The main body features a continuous feathered pattern formed by applied yellow and light blue trails. The lower section remains undecorated.For similar see: The Metropolitan Museum of Art, Object Number: 74.51.323.Size: 180mm x 60mm; Weight: 235gProvenance: Private UK collection, acquired on the US art market, pre-2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 2400 - 1900 BC. A terracotta jar with an ovoid body that tapers towards a flat base and a narrow neck leading to a flared rim. The central register is divided into rectangular sections, each containing a simplified depiction of an ibex with an elongated body, slender legs, and curved horns extending backwards. The torso is filled with parallel diagonal lines, while horizontally oriented strokes are positioned in opposite corners of each section. The ibex panels are separated by a series of straight vertical lines. Multiple horizontal bands of varying thickness encircle the area above and below, framing the central register.The Evolution of the mature Indus pottery style, in the Light of the excavations at Nausharo, Pakistan, by Gonzague Quivron, fig. 4 plate B.Size: 220mm x 105mm; Weight: 700gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Late Period, Ca. 664-332 BC.A wooden mummy mask from the lid of an anthropoid coffin, painted in pigment over a gesso layer. The face is rendered with a reddish-brown skin tone, with black outlines defining the almond-shaped eyes, arched eyebrows, and irises. The sclera is highlighted in white. The nose is straight and slightly rounded at the tip, while the full lips are gently curved. A wide headdress painted with alternating dark and light bands frames the forehead and extends over the sides. The back of the mask bears visible traces of attachment, including nail holes. These masks were stylised representations of the deceased, playing an important role in Egyptian funerary practices. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.Size: 240mm x 185mm; Weight: 510gProvenance: Private London collection; Ex. Taher Khorassani collection, Germany, 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
SGB report: This card is in Light Played condition, its has very minor edgewear on the top that is only visible from the back. About this card: Neo Destiny is the name given to the fourth and final main expansion of the Neo Series of the Pokémon Trading Card Game. In Japan, it was released as Darkness, and to Light..., the fourth and final expansion in the Pokémon Card Game neo Era. It is based on Pokémon Gold, Pokémon Silver, and Pokémon Crystal, featuring Generation II Pokémon. The English expansion was released on February 28, 2002, while the Japanese expansion was released on April 20, 2001. Neo Destiny was the final English expansion that have the 1st Edition symbol.
SGB report:This 1st edition Charizard has a very clean front but is subjected to edgewear all around the back of the card. This example is considered Excellent/Played condition simply because of the back edgewear. This is still an amazing copy on the front or for some ones full set. About this card: Neo Destiny is the name given to the fourth and final main expansion of the Neo Series of the Pokémon Trading Card Game. In Japan, it was released as Darkness, and to Light..., the fourth and final expansion in the Pokémon Card Game neo Era. It is based on Pokémon Gold, Pokémon Silver, and Pokémon Crystal, featuring Generation II Pokémon. The English expansion was released on February 28, 2002, while the Japanese expansion was released on April 20, 2001. Neo Destiny was the final English expansion that have the 1st Edition symbol.
SGB report: This card is in light played condition. It has a miniscule mark on Gyarados lips. About this card: EX Holon Phantoms is the name given to the thirteenth main expansion of the EX Series of the Pokémon Trading Card Game. In Japan, it was released as Holon Phantom, the seventh expansion in the Pokémon Card Game PCG Era. This set features Generation III Pokémon. The English expansion was released on May 3, 2006, while the Japanese expansion was released on January 27, 2006.
Selection of clocks to include J.Auricoste, Paris maritime marine clock, 18cm diameter together with a brass Maynard, London marine clock, 16cm diameter and wooden cased H.A.C wall clock, No.2609, Victorian porcelain and brass lever light switch and an Art Deco Smiths cream and gilt aneroid barometer, W 26.5cm
East Anglian Art. Gerard Stamp, Watercolour Ely Cathedral (East Side?) Size: Image 52 x 32 cms approx Frame: 77 x 55.5 cms approx. Condition: Excellent, no issues Artists Resale Rights may apply Provenance: Grapevine Gallery, Burnham Market, Norfolk NOTE: One of the country’s finest contemporary watercolourists, Gerard Stamp’s paintings are in the Royal Collection and Norwich Castle as well as a number of private collections, including those of Dame Judi Dench and the Duke of Bedford. Gerard Stamp grew up in Norfolk, going to school in the shadow of Norwich Cathedral. Here he developed a passion for drawing and painting – and in particular Norfolk and mediaeval architecture. After Art College he followed a career in London’s design and advertising industry before focusing full time on painting in 2002. From his first solo exhibition at the Grapevine Gallery in Norwich in 2005, his work quickly attracted national attention and a year later he held his first London exhibition, with Grapevine in Cork Street. Six more solo exhibitions followed, including Marshscape, a series of large studies featuring the Norfolk coast, and Mediaeval, a celebration of church architecture. In 2009 he held an exhibition at Bonhams, New Bond Street, London. Entitled Twelve Churches, it marked The Churches Conservation Trust’s Fortieth Anniversary. In 2010 his life came full circle when he was invited to stage the inaugural exhibition for the Royal opening of the Hostry, a new Exhibition and Visitor Centre at Norwich Cathedral where he was delighted to be asked to present Her Majesty the Queen with a painting to celebrate the occasion. Subsequent exhibitions including Spirits in Stone with Grapevine in London in 2012, Conquest at Norwich Castle Art Gallery. More exhibitions with Grapevine including At the Still Point in Exeter Cathedral in 2014 and Isle of Light in Ely Cathedral, have helped cement Stamp’s reputation.
Regimental interest: King's Own Yorkshire Light Infantry. Silver cigar box and a presentation regimental interest band baton. The box carries the crest and 'Presented to Bandmaster C.E.Raison, ARCM by the Officers of The King's Own Yorkshire Light Infantry in remembrance of 20 years valuable service to the band of the regiment 1926-1946'. The baton also carries the crest and 'Presented to Bandmaster C.E.Raison by the officers of the 1st Bn. K.O.Y.L.I on the occasion of his marriage'. Cigar box: William Comyns, London 1910 Baton: J.Howell and Co. (Renowned conductors baton silversmith), Birmingham 1926 Also a photograph of The Bandmaster C.E.Raison conducting the band, Condition: Box has a large ding to one corner of the lid, baton has some dents to handle.
Sheila Finn (b. 1929) Natasha for Daum France A kneeling nude Light blue pâte de verre Signed 'S. Finn' to thigh and marked 'Daum France' Together with: [b] A female carved stone torso, and [c] A soapstone carved recumbent female figure Property of a nobleman To be sold without reserve Dimensions: [a] 6 in. (H) x 5 in. (D) x 2.5 in. (W) [b] 7 in. (H) x 4 in. (W) [c] 4.5 in. (H) x 14 in. (W)
An Early Moorcroft Pottery Vase, of cylindrical form with flared neck, painted in the 'Pomegranate' pattern within a dark blue ground, mounted in a 'Tudric' pewter base, impressed marks and number 01310, 23cm high; A Moorcroft Baluster Form Vase, in the same pattern, impressed marks, signed in blue, 18.5cm high. (2)Vase with pewter base has glue repaired chip to rim, light crazing. Other vase with very light crazing, no chips, cracks or signs of restoration.
A Dresden Augustus Rex Porcelain Chocolate Cup, Cover and Trembleuse Saucer, decorated with alternating panels of figures and flowers against a pink ground, blue AR marks, another with a blue ground and a similar bottle vase, 31cm high. (3)Vase with some light rub to gilt, one side with wear to paint - see images.Pink example saucer with small crack, lid with small chip to inside rim and small chip to rim of cup, rub to gilt throughout on both sets of cups and saucers.
A Burmantofts Pottery Faience Stick Stand, decorated in a turquoise glaze, the cylindrical body moulded with a central band of flowerheads and foliage with flutes and swirls, impressed marks, shape number 1860, 60cm high.All over light crazing, no chips or cracks. Some tiny nibbles and slight scratching to rim - see images.
A Brameld Pearlware Plate, decorated in blue with a willow pattern, impressed marks, 26cm diameter, a Brameld octagonal soup bowl printed in blue with figures in a country landscape, impressed marks, 25cm diameter, three Brameld green leaf moulded plates, a Brameld ashet and five further plates. (11)All plates with wear commensurate with age. Octagonal bowl with two areas of repair, small chips to edge and hairline crack. Large chip to underside of oval dish. Many other plates with light crazing, small chips, hairlines, scratching. Rubs and chips to paint throughout. See images.
A Pair of Late XIX Century Moore Brothers Porcelain Comports, each with floral encrusted circular bowl raised on cherub supports and circular bases with Greek key pattern borders, import marks, 27cm high. (2)One is marked to base 'T. Goode & Co London' the other with impressed mark 'Moore'.Tops of both with many hairlines some have deteriorated into cracks, rub to gilt on both. Cherubs with light crazing, one with chip to foot and one on the other piece with chip to thumb. Small chips and nibbles to exterior flowers
A Rockingham Porcelain Teapot and Cover, with crown finial and a matching sucrier and cover, coffee cup and saucer, decorated in pattern number 1212 with flowers and foliage in grey and gilt, unmarked, a similar slop bowl, two other slop bowls, milk jug and a sucrier and associated cover. (12)Rockingham teapot with crazing and hairline to base, nibbles to rim of lid. Jug with chip to rim. Sucrier lid with small nibbles to rim. Light crazing throughout.
A Royal Worcester Coral Handled Jug, with blush ivory ground printed and painted with floral sprays, shape number 1047, date code for 1904, 23cm high; A Royal Worcester 'Old Ivory' Tapered Coffee Pot and Cover, 22cm high and a trinket box and cover, of circular form. (6)Trinket box with large open cracks to base - see image. Others in good condition, light rub to gilt.
A Late XIX Century Japanese Imari Ware Plate, of shaped circular form, painted in panels with flowers and birds, 23cm diameter, a similar jar and cover 16cm high, a Kutani Ware baluster vase and a XIX century Chinese tea bowl. (5)Lid of ginger jar with large cracks and heavy restoration, body without chips or cracks. Plate, vase and tea bowl appear without chips or cracks, some light loss to paintwork.
A Moorcroft Circular Pottery Plaque, specially commissioned by R & R Collectibles Ltd, tubelined and painted with a hot air balloon over fields and trees with vine leaf border, No 52/100, painted 'WM' monogram and S.T.Des to underside, 35.5cm diameter.Some crazing, mainly noticible to light green areas, no chips or cracks.
A Mid XIX Century Coalport Porcelain Part Dessert Service, each painted with named landscape scenes with dark blue, cream and gilt borders, comprising: two low tazze, one high tazza and six plates. (9)Kilchurn Castlesmall comport (1) - 1.5cm light scratch to the right of the imageWelcombe (2) - angular light scratch to the right side of the imageWhatton House - Large comport - 0.1cm scratch under three on the right sideBeaumont Lodge Plate - 1.0 light scratch to the left sideDunkeld - Several small light scratches, mainly to mountainsNuneham Courtenay - 1cm scratch to manor house, smaller to lakeWarwick Castle - 0.3 scratches (2) to the castle, another smaller to treesAlnwick - 2 minor scratches to the rightSherborne Castle - 1cm scratch to the right on the skyAll have varying gilt loss to rims, and general wear but no visible chips, cracks or restoration.
A Staffordshire Pearlware Cylindrical Mug, painted in blue with Victoria Regina and bust portraits before a window and floral garland, 13cm high.Some small chips and nibbles to rim. Light crazing throughout, Ome area of heavier crazing near imperfection on body. Scratching to inside. Wear commensurate with age.
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534325 Los(e)/Seite