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Preisdatenbank abonnierenGroundhogs / Tony McPhee LPs, six UK release albums comprising Who Will Save The World? (fold out sleeve - Cream Labels VG+/VG), Thank Christ For The Bomb (Blue/Black labels VG+/VG), Hogwash (fold out sleeve - cream labels VG+/VG+), Split (blue/black labels EX/VG), Solid (textured sleeve + Insert EX/EX-) and The Two Sides of Tony McPhee with insert (VG+/VG+)
Rock / Prog LPs, twenty albums of mainly Classic and Progressive Rock with artists comprising Yes, Genesis, Uriah Heep, The Who, David Bowie, Sensational Alex Harvey Band, Climax Blues Band, Van Morrison, Dr John, Glenn Phillips, Santana, Eric Clapton, Bruce Springsteen, U2, Ted Nugent, Robin Trower and Poco - various years and conditions
Sixties LPs, approximately forty-five albums, mainly by Sixties artists including The Who, Rolling Stones, John Lennon, George Harrison, Byrds, Doors, The Band, Honor Blackman, Buddy Miles, Leonard Cohen, Bonzo Dog Band, Bob Dylan, Donovan, Blood Sweat & Tears, Lovin Spoonful, Harry Nilsson, Manfred Mann and more - various years and conditions
David Bowie LP, The Man Who Sold The World LP - Original UK Release 1971 on Mercury (6338 041) - Textured Non Flipback 'Dress' Sleeve with 'SBL Price Code' and 'Published by Titanic Music Ltd./Chrysalis Music Ltd' on rear - Black / Silver labels with correct 'Tony Visconti' spelling and Titanic Music credit for all tracks - Original 'British Patent' Inner Sleeve - Sleeve VG+ (light ringwear to front, light wear to edges and original owner's name written on rear under the track listing), Vinyl EX-
Sixties 7" Singles, approximately two hundred and fifty singles, mainly from the sixties with artists including The Beatles, The Who, The Kinks, Them, Pretty Things, Merseys, Nashville Teens, Undertakers, Dave Clark Five, Sandie Shaw, Lulu, Easybeats, Tom Jones, The Chiffons, Lee Dorsey, The Cookies, Dave Berry, The Shangri-Las, The Shirelles, The Dixie Cups, Poni-Tails, Barbara Windsor, Marty Feldman, Peter Sellers, Bernard Bresslaw and more - around half in original company sleeves - various years and conditions
Psychedelic LPs, ten original UK Release albums of mainly Psychedelic Rock comprising Easybeats - Vigil (Mono), The Who (Sell Out (Stereo) and Tommy), Simon Dupree & The Big Sound - Without Reservations (Stereo), Brian Auger, Julie Driscoll and Trinity - Open (Mono), Wynder K Frog - Out Of The Frying Pan (Stereo), Spencer Davis Group - With Their New Face On (Mono), Cream - Wheels Of Fire (Double Stereo), Bonzo Dog Doo Dah Band - Gorilla (Mono) and Here We Go Round The Mulberry Bush OST (Mono) - various years and conditions
Sixties EPs / 7" Singles, five EPs and sixteen singles, mainly from the Sixties with artists including The Beatles, The Who, Manfred Mann, The Trade Winds, The Miracles, The Jamies, The Kingsmen, The Raindrops, The Marvelettes, The Ad Libs, The Dovells, The Knickerbockers, The Contours, The Crystals, The Beau Brummels, Freddie and the Dreamers, Dobie Gray and more - various years and conditions
LP Records, approximately eighty albums and a Box Set of various genres with artists including The Who, Rolling Stones, David Bowie, Genesis, The Nice, ELP, Scorpions, Al Stewart, The Eagles, Marianne Faithfull, Bruce Springsteen, Roxy Music, Joni Mitchell, Bob Dylan, Janis Joplin, Van Morrison, 10cc, Kate Bush, Lou Reed, Moody Blues, Gene Vincent, Eddie Cochran, Glen Campbell and more - various years and conditions
LPs / 12" Singles, approximately one hundred albums and forty 12" Singles of various genres with artists including The Beatles, Paul McCartney, John Lennon, XTC, Monkees, Style Council, Elvis Costello, Secret Affair, Nilsson, The Who, Scott Walker, Richie Havens, Moody Blues, The Undertones, The Housemartins, Mary Hopkin, Tracey Thorn, Jefferson Airplane, Donovan, Ringo Starr and more - mainly less than Excellent condition
AN IMPORTANT GOLD & ENAMEL MOURNING RING FOR VICE ADMIRAL 1st VISCOUNT LORD NELSON KB, 1st DUKE OF BRONTE, by JOHN SALTER, 1806. The black enamel matrix with Viscount's Coronet over initial N, a Ducal Coronet over initial B, & the legend TRAFALGAR below; the shank engraved to the interior “Lost to his Country 21st Octr 1805 Aged 47”, and to the outer edge with Nelson’s motto “PALMAM QUI MERUIT FERAT” (Let he who has earned it bear the palm), in a contemporary morocco ring-box.Of the 58 Nelson Mourning Rings produced by Salter, it is presumed that this example is one of the 31 reserved for close family & friends, as it has been passed down through the Matcham & Bendyshe families HISTORIC LETTER: This lot includes a manuscript letter from Lady Emma Hamilton at Merton, dated Saturday 26th October (1805), to Nelson's niece Catherine, aged thirteen, who was the daughter of Nelson's sister Catherine (Kitty), at 2, Portland Place, Bath. After an initial discussion about a play, Lady Hamilton goes on to say:".....Tell your dear Father & Mother that I have had letters from our dear Lord Nelson dated first, second, & third of October. He got off Cadiz the 28th at night, & he says Admirals, Captains, & men were all rejoiced to see him. Some shed tears, & he says in these words - and when I come to explain to them the Nelson Touch, it was like an electric shock, some shed tears, all approved, it was new, it was singular, it was simple, & from Admirals downwards it was reported it must succeed - and you my Lord are surrounded by your friends who you inspire with confidence, who glory in declaring they will follow you where so ever you go, & you will lead us to victory.....".It continues: "...Your aunt Bolton will write Monday, she is very well. My paper will not allow me to say more, or I would give you a description of the launch of the Ocean (?), one hundred & thirty guns, Thursday last, it was so fine & grand that I fainted, & every body shed tears, I wish you had been with us, but I look forward to ......".The bottom portion of one page of the letter (bearing the signature) is missing. The postmark confirms the date as 26th October 1805, therefore as news of the Battle of Trafalgar did not reach Britain until early November, at the time of writing this letter, Lady Hamilton was not aware that Nelson had lost his life.This lot also includes two earlier manuscript letters concerning matters of the Bendyshe family; a black-&-white photograph of a painting of Catherine Bendyshe (nee Matcham) with her children; and an early 19th century silk-embroidered purse with gilt-metal mounts; all contained in a small morocco covered dome-top box.
Doctor Who 50th Anniversary Steiff Bear, Near Mint, within sealed bag, includes paperwork and drawstring bag. The Wand Company ltd Doctor Who Sonic Screwdriver Universal Remote Control, Mint UNUSED, within Excellent packaging. BBC Doctor Who Die-cast metal Key-rings Trade Box, includes 12 x packaged Key-rings with counter top Display Box, with outer Shipping Carton, all Near Mint to Mint. BBC Doctor Who Die-cast metal Key-rings Trade Box, includes 11 x packaged Key-rings with outer Shipping Carton, all Near Mint to Mint. Doctor Who Dalek Scarf, Near Mint. (qty)
Corgi James Bond 007 vehicles x ten includes Thunderball Aston Martin DB5, The Spy Who Loved Me Lotus Esprit Underwater, A View To Kill Renault Taxi, For Your Eyes Only Lotus Esprit Turbo, Die Another Day Jaguar XKR, On Her Majesty's Secret Service Aston Martin DBS, Live and Let Die Double Decker Bus, Die Another Day Aston Martin Vanquish, Golden Eye BMW Z3, The World is not Enough BMW Z8, all Good to Good Plus, within Good opened packaging. Quantity of Galoob Micro Machine Star Wars playsets, with vehicles and characters, unchecked for completeness, all generally Good.
Big Chief Studios BBC Doctor Who Vinyl figures x two, both within Near Mint sealed packaging. Marvel Avengers Infinity Wars Commemorative Coin set, Near Mint, within Near Mint display Folder. Vivid Imaginations Joe 90 Secret Agent Spy Case, Excellent (unchecked for completeness), within Good opened packaging. Buck Rogers in the 25th Century DVD Box set, Near Mint, Buck Rogers Patch, Excellent. Corgi Buck Rogers Starfighter, Good. (8)
A Chinese soapstone carving,19th-20th century, of Kuixing, the God of Literature standing with his right leg on the head of a huge legendary turtle above spuming waves, his right hand with a brush pen to announce the name of the scholar who was first in an exam,27cm high, together with four dolls,26cm high, and two south-East Asian standing figures, 16cm high (8)Condition ReportFour dolls - in overrall poor condition. One with head unattached from body, and damaged in various locations. Paint losses, and clothing with holes and frays.Standing figures - surface scratches.Kuixing - surfaces scratches and chips in various locations. Base restored. Figure loose from base.
George Medal, 4-medal group awarded to Alfred Leonard Shipton 1952, Police Constable and later Inspector, Metropolitan Police comprising: the George Medal 1939-45, the Defence medal with silver laurel leaf, Queen Elizabeth II Coronation medal and George IV Exemplary Police Service medal with miniatures, ribbons and duplicate Defence medal and a quantity of other medallions, medals etc., together with a large quantity of family related ephemeraN.B. Awarded 1952 for courage and tenacity in affecting the arrest of a dangerous criminal who made a determined resistance to arrest by using an automatic pistol in Sutherland Avenue, Maida Vale
A Charles I oak refectory table, circa 1630, two plank top, raised on baluster on block supports united by rectangular stretchers. 78cm H x 220cm W x 77cm DProvenance:The collection of the late Earl of Kintore who was resident at Keith Hall in Inverurie in the County of Aberdeenshire. Bought by the Father of the current owner in 1968 from John Bell of Aberdeen Antiques (Member of The British Antique Dealers Association), Bridge Street in Aberdeen.
A 1982 U.S. Army prototype Tudor Rolex 7206 Prince Oysterdate Submariner Rotor Self-Winding wristwatch in custom made stainless steel case, with 26mm black dial and batons and Arabic luminous numerals, with sweep second hand, on a stainless steel strap. for further information: https://www.watchprosite.com/rolex/who-knows-more-about-those-original-p01-tudor-or-the-so-called-us-army-prototypes-/732.1277391.10765536/Having been viewed online there are some people who have suggested this is a Frankenwatch. We are unable to gurantee this to be an original prototype as there is little information on it. It is "sold as seen" and components and parts may not be original to the whole
Daphne du Maurier Signature dated April 10th 1946 and written on Menabilly headed paper, sold along with a letter relating to Ivor Novello and Noel Coward (signed Lee?)She never owned Menabilly. It was, and I think still is, the seat of the Rashleigh family, who seldom went there and agreed to rent the house to Daphne, where she lived for 25 years from 1943.
c. 1930's Photograph Album of R.A.F. Peshawar in India with discharge certificate for Flight Sergeant Robert G. Hoffman (active 1927-47) including images of Peshawar city, street vendors, Jamrud fort, Khyber pass, Shagai fort, end of Mohmand operations, tribal chieftains listening to the governor of N.W.F.P. 1935, Mitchini bridge, lower Topa, rescue flight of climbers near Chitral of the German party who tried to climb Nanga Parbat Jan. 1938, Quetta after earthquake may 1935, Mirali camp, Dossali camp, Coronation camp, Arsal Kot after bombing, Damdil to Thal, Tochi camp and cricket, most images 8.5x6"
Eaglemoss - James Bond - 12 x boxed cars in 1:43 scale including Aston Martin V8 Vantage from The Living Daylights, Lotus Esprit from The Spy Who Loved Me and Jaguar XKR from Die Another Day. They appear Mint in Mint display cases, some of the card backings are creased / coming away. (This does not constitute a guarantee)
Evel Knievel - Ideal - The Real Ghostbusters -Toy Story - Marvel - Power Rangers. In excess of twenty loose figures and vehicles from various ranges, appearing in Playworn to Excellent condition to include: A 1970's Ideal 'Evel Knievel', a rare Toy Story 'Anti-Buzz' who did not actually appear in the films by Pixar. Ray Stantz, Fright Features from The Real Ghostbusters and similar. (This does not constitute a guarantee).
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper image size 48cm x 62cm, overall size 69cm x 88cm Mounted, framed and under glass. Provenance: The Corrymella Scott Gallery. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* LEONARD GRAY RSW (SCOTTISH 1925 - 2019), OLD VENICE mixed media on board, signed image size 48cm x 38cm, overall size 65cm x 54cm Mounted, framed and under glass. Note: Leonard Gray was a quietly industrious painter whose prodigious output, in his signature style of warm, subtle shades with trademark texture, was coveted by private and public collectors including HRH The Duke of Edinburgh. He first began exhibiting more than 65 years ago and produced more than 1000 works, three of which hang in the late Duke’s collection of Scottish paintings at the Palace of Holyrood House. Many of his paintings are based on Scotland’s east coast, perhaps unsurprisingly for a man born in Dundee, who trained in Edinburgh and worked in Fife and Aberdeen. He won numerous awards and prizes including The John Laing (London) Prize for Landscape Painting in 1996, 1997 and 1998. Known collections include: HRH The Duke of Edinburgh’s Collection of Scottish Paintings (3 paintings); Royal Scottish Academy, Edinburgh; City Gallery, Edinburgh; Greenock Art Gallery; National Trust for Scotland; University of Aberdeen; Herriot Watt University, Edinburgh; Education Authority of Edinburgh; Education Authority of Dundee; Education Authority of Grampian; Education Authority of Highland; Edinburgh Royal Hospital; IBM. Computers; Low and Bonnar, Dundee; Royal Bank of Scotland, Edinburgh; Royal Bank of Scotland, Dundee; Clydesdale Bank, Glasgow; Scottish Equitable Insurance Company and Grampian Hospitals Art Trust.
* DONALD MORRISON BUYERS RSW (SCOTTISH 1903 - 2003), THE GARDEN oil on board image size 89cm x 74cm, overall size 95cm x 79cm Framed. Provenance: The Rendezvous Gallery, Aberdeen. Note: Donald Buyers studied at Gray's School of Art, Aberdeen from 1948-51. Soon after graduating, he was employed as an art therapist with tuberculosis patients in the Aberdeen hospitals. While on honeymoon in Paris in 1955 he saw a retrospective exhibition of Picasso who, with Paul Klee became a lasting influence. Back in Aberdeen, he made a living as a successful commercial artist for some years and then concentrated increasingly on his career as a painter. With three fellow artists, Eric Auld, Bill Baxter and Bill Ord, he formed the ABBO group in 1957 which was to exhibit extensively for many years throughout Scotland as well as in Newcastle and Birmingham. From 1963 to 1985 Buyers taught at Robert Gordon's Institute of Technology as well as being a visiting lecturer at Gray's School of Art. His work is represented in the collections of the Arts Council, Aberdeen Art Gallery and HRH The Duke of Edinburgh.
WW2 Double VC winners Charles Upham VC signed label fixed on 1970 National Army Museum Victoria Cross cover. Charles Hazlitt Upham, VC and Bar (21 September 1908 - 22 November 1994) was a New Zealand soldier who was awarded the Victoria Cross (VC) twice during the Second World War - for gallantry in Crete in May 1941, and in Egypt, in July 1942. He was the most recent of only three people to receive the VC twice, the only one to receive two VCs during the Second World War and the only combat soldier to receive the award twice. As a result, Upham is often described as the most highly decorated Commonwealth soldier of that war, as the VC is the Commonwealth's highest award for gallantry in the face of the enemy. Later held as POW in Colditz. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Bill Watson MC: 8x12 inch photo of HMS Campbeltown rammed into the docks as St Nazaire, signed by Lt Bill 'Tiger' Watson MC who took part in the raid as a Commando in charge of demolitions. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Late Period - Ptolemaic Dynasty, c. 663-30 BC. Statuette of the war god Maahes enthroned on a modern stand. His leonine head is adorned with a nemes headdress and a false beard, and his hands are joined over his stomach to hold a sceptre that extends down to the ankles, bending with the seated body. The throne is richly adorned on the sides with figurative designs. Much of his left arm and ear are missing. Maahes was a benevolent warrior god, the son of Ptah and Bast/Sekhment, who was associated with protection and victory. This likely would have been given as a votive offering to a shrine or temple of the god in exchange for his favour, perhaps in battle. This votive statue of the Lion God of War Maahes who protected the Pharoah whilst he was in battle. He also protected the innocent dead and held important roles in the afterlife process.Size: L:With stand: 165mm / W:64mm ; 280gProvenance: From a private London collection; acquired on the UK art market in the 1960s-1970s.
Late Dynastic Period, Ca. 664-332 BC. An ancient Egyptian blue faience ushabti. The mummiform figurine wears a tripartite wig, his crossed hands hold hoes. During the Late Period the 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:150mm / W:40mm ; 110gProvenance: Private London collection; ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
Late Period / Ptolemaic, Ca. 712-30 BC. A beautiful restrung necklace with tubular and discoid beads as well as a beautiful scarab. Scarabs were artistic depictions of the Egyptian dung beetle. In Egyptian mythology, these insects were linked to the Sun God Ra, who after his death in the Underworld, was reborn as a scarab. Used as amulets, seals and to fulfil commemorative functions, scarabs were an important element of dress. Their undersides frequently feature hieroglyphic or geometric designs to identify their owners or ward off evil spirits. Due to their small, abstract nature, scarabs cannot normally be closely dated generally.Size: L:235mm / W:mm ; 5.6gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 360-320 BC. A black-glazed terracotta guttos (oil-lamp filler) with a spool-shaped foot, a wheel-shaped body, a protruding ring handle, and a cylindrical spout with an everted rim. The tondo features a stamped Gorgon with piercing eyes, a soft, round jaw line and flowing hair. Good condition. In Greek mythology, Gorgons were monsters portrayed in early classical art as winged female creatures; their hair consisted of snakes, and they were round-faced, flat-nosed, with tongues lolling out and with large projecting teeth. Medusa, who may appear on this guttus, was the only one of the three Gorgon sisters who was mortal and was often depicted as beautiful and deadly.Size: L:118mm / W:75mm ; 168gProvenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
Ca. 100-300 AD. A bronze die for casting mounts in the form of a bust of Cupid (Greek Eros) with fleshy features and curly hair. His chubby cheeks portray the features of youth, his stylised wings between his shoulders. In Roman mythology, Cupid was the god of love. He is generally represented as an aesthetically chubby boy with wings, who carries a bow and a quiver of arrows. He is normally shown as a follower or acolyte of the goddess Aphrodite. Size: L:34.8mm / W:26.8mm ; 62.61gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Ca. 100-300 AD. A bronze figurine of a young Eros, depicted in a standing pose, naked. He is striding forward with his left leg advanced, his right arm stretched holding a patera. His eyes articulated, his lips parted, and a cascade of wavy hair frames his chubby face. He carries a quiver on his back. In Roman mythology, Cupid was the god of love. He is generally represented as an aesthetically chubby boy with wings, who carries a bow and a quiver of arrows. He is normally shown as a follower or acolyte of the goddess Aphrodite. Size: L:63.4mm / W:39.5mm ; 37.5gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Ca. 100-200 AD. A beautiful bronze panther brooch with a slender, stretched body with recessed circles to accept enamel inlays. Catchplate to the reverse. In ancient Greek mythology, the panther was commonly associated with the god Dionysus, who used a panther as his preferred mount. For a comparable example, see The British Museum, Registration number1924,0502.1.Size: L:39.7mm / W:17.4mm ; 11.14gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Ca. 100-300 AD. A substantial pair of Ancient Roman gold earrings featuring a large convex shaped bead which looks like a vessel, with a beautiful pendant decorated with fine granulation on its rim; below this is decorated with a central tri-clustered granulation, with five granules creating a pyramid. The ancient Romans considered jewellery to be an essential dressing accessory, for it provided a public display of their wealth. Roman jewellery first followed fashion set by the Etruscans, using gold and glass beads, but as the Roman empire spread and became more prosperous, so did its jewellery designs become more increasing elaborate. The behavior of wearing rings was popular amongst the Romans, and was likely introduced by the Sabines, who in early legends, as wearing gold rings with precious gemstones. Myres, John L. 1914. Handbook of the Cesnola Collection of Antiquities from Cyprus. no. 3257, New York: The Metropolitan Museum of Art. The Metropolitan Museum of Art.Size: Set of 2: L:44mm / W:15mm; 9.3gProvenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010). Exhibited: Olympia Art & Antiques fair, London June 2022.
Ca. 200 AD. A carnelian intaglio engraved with a scene of Leda and the Swan set in a possibly later gold ring. Leda, a princess from Aetolia, who would later become the queen of Sparta, was carried off by Zeus, king of the gods, in the form of a swan. According to a later mythological tradition, their sexual union would lead to the birth of Helen and Polydeuces, two major figures in Greek mythology. This myth, therefore, encapsulates the origin of the most important myths from the ancient world, for it is the rape of Helen which directly leads to the Trojan War, and the first work of literature in the western world: Homer's Iliad. Size: D:17.12mm / US: 6 3/4 / UK: N; 2gProvenance: From the late Alison Barker collection, a retired London barrister; from her collection formed 1960s-1990s.
Ca. 100-200 AD. A gold finger ring of a thin hoop with fine granules to each shoulder. The bezel centred by an intaglio depicting a figural representation of Cupid facing left. In Roman mythology, Cupid (known as Eros to the Greeks) was the god of love. He is generally represented as an aesthetically chubby boy with wings, who carries a bow and a quiver of arrows. He is normally shown as an follower or acolyte of the goddess Aphrodite.Size: D:16.51mm / US: 6 / UK: L 1/2; 2gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s
Ca. 100-300 AD. A gold ring with oval-shaped carnelian intaglio engraved with a standing profile figure of Fortuna, her head facing right, she is holding a steering oar and cornucopia. From the Roman Republic onwards it became customary for all the chief magistrates and senators, to wear gold rings, known in Latin as annulus aureus, as a way to distinct themselves from the mass of the people. A symbol of high social status. This intaglio holds the depiction of the goddess Fortuna, who is bearing a cornucopia, symbol of abundance, and a steering oar, symbol of her control over human destinies. Fortuna was not only the personification of good fortune and chance, but was also worshipped as the protector of cities. Cf. G. M. A. Richter, Catalogue of Engraved Gems - Greek, Etruscan and Roman, Plate XLVII, nos. 366-367.Size: D:14.48mm / US: 3 1/2 / UK: G; 8gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s
Ca. 300-400 AD. An elegant gold hoop with an attached circular plate bezel flanked by spherical baubles. The bezel features an incised Chi-Rho motif. This symbol, which derives its name from the first two letters of Jesus’ name written in Greek, is one of the most important motifs of ancient Christianity. The symbol is traditionally associated with the emperor Constantine the Great, who saw this sign in a vision before the Battle of the Milvian Bridge outside Rome in AD 312.Size: UK: T US: 9 1/2 3.95gProvenance: From an old British collection acquired on the UK art market in the 1970s.
Ca. 100-300 AD. A substantial pair of Ancient Roman gold earrings featuring a large convex shaped bead which looks like a vessel, with a beautiful pendant decorated with fine granulation on its rim; below this is decorated with a central tri-clustered granulation, with five granules creating a pyramid. The ancient Romans considered jewellery to be an essential dressing accessory, for it provided a public display of their wealth. Roman jewellery first followed fashion set by the Etruscans, using gold and glass beads, but as the Roman empire spread and became more prosperous, so did its jewellery designs become more increasing elaborate. The behavior of wearing rings was popular amongst the Romans, and was likely introduced by the Sabines, who in early legends, as wearing gold rings with precious gemstones. Myres, John L. 1914. Handbook of the Cesnola Collection of Antiquities from Cyprus. no. 3257, New York: The Metropolitan Museum of Art. The Metropolitan Museum of Art.Size: Set of 2: L:44mm / W:15mm; 9.3gProvenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).
Ca. 900-1100 AD. An excellent set comprising a leather belt with bronze fittings including a D-shaped buckle with a pin, chevron mount and interlinking pieces with a ring, and a forged-iron long sword with a broad blade tapering to a sharp point. The handle has elaborate silver inlays across a guard and a pommel. The cross guard is of a simple rectangular, flat shape but curves slightly downwards at each end. The hilt is short, one-handed, and ends in a circular pommel with raised boss. The era known as the Viking age lasted for more than 300 years, from the late 8th century to the late 11th century. The history of the Vikings is closely linked to their role as masters of the sea. They were feared as fierce and ruthless invaders; this fine set probably belonged to a Viking chieftain who led his warriors in search of fortune.Size: L:950mm / W:75mm ; 810gProvenance on Mindaugas invoice: Ing Peter Till collection, Vienna, 1980s-1990s.
Ca. 900-1100 AD. A rare type of hack-gold ring formed of a circular hoop with a braided median section and tapering arms. This ring was intended to evoke the form of a snake. In Norse mythology, Jormungand also called the "Midgard Serpent" is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir.Size: D:19.35mm / US: 9 1/2 / UK: S 1/2; 10.6gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.
Ca. 900-1100 AD. A forged-iron axe head of a sizeable form with a long neck, a verticle blade with flared tips, and a wide socketing shaft with slightly flared upper and lower edges. The bearded axe, or Skeggøx (from Old Norse Skegg, "beard", and øx, "axe") was common from the 6th century AD onwards in Scandinavia but made most famous by the Vikings, who used these axes in battles to terrible effect. In bearded axes, the main part of the axe blade extends below the butt of the axe, creating a large cutting blade and allowing a fighter to hook onto the shields or weapons of their opponents. Mounted on a custom-made stand. For more information on Viking axes, see Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 139-141.Size: L:195mm / W:100mm ; 520gProvenance: Property of a UK art professional; Formerly acquired on the European art market from pre-2000 collections.
Ca. 900-1100 AD. An iron bearded axe head with an elongated, curved blade and tapering cheek. The bearded axe, or Skeggøx (from Old Norse Skegg, "beard", and øx, "axe") was common from the 6th century AD onwards in Scandinavia but made most famous by the Vikings, who used these axes in battles to terrible effect. In bearded axes, the main part of the axe blade extends below the butt of the axe, creating a large cutting blade and allowing a fighter to hook onto the shields or weapons of their opponents. For more information on Viking axes, see Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 139-141.Size: L:190mm / W:120mm ; 930gProvenance: Property of a UK art professional; Formerly acquired on the European art market from pre-2000 collections.
Ca. 900-1100 AD. An iron battle axe with a broad blade, tapering cheek and a round socket. The bearded axe was common from the 6th century AD onwards in Scandinavia, but made most famous by the Vikings, who used these axes in battles to terrible effect. In bearded axes, the main part of the axe blade extends below the butt of the axe, creating a large cutting blade and allowing a fighter to hook onto the shields or weapons of their opponents.Size: L:180mm / W:100mm ; 840gProvenance: Property of a UK art professional; Formerly acquired on the European art market from pre-2000 collections.
Ca. 900-1100 AD. A silver ring with a D-shaped hoop and flattened, rectangular bezel bearing a gilded interlaced design. Excellent condition, wearable. The era known as the Viking age lasted for more than 300 years, from the late 8th century to the late 11th century. The history of the Vikings is closely linked to their role as masters of the sea. They were feared as fierce and ruthless invaders; this ring probably belonged to a Viking warrior who left his home to travel and fight in search of fortune.Size: D:19.76mm / US: 10 / UK: T 1/2; 3.3gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 1100-1300 AD. A bronze pendant in the form of a cross with a rounded suspension loop at the top. The front bears a moulded relief of a cross. The Cross is the principal symbol of Christianity, recalling the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the faith of Christians. This beautiful item may have belonged to a crusader knight, who traveled to the Holy land to defend his faith. This item is in wearable condition and it comes with a modern necklace cord.Size: L:37.6mm / W:26.6mm ; 8.29gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;
Ca. 1000 BC. A votive figure of a bull in a layer of sheet silver. The animal is standing in a naturalistic position, the thick muscular neck with the dewlap handing from the neck to between the forelegs and extending beneath the body, the large head with a prominent rounded muzzle, large oval shaped eyes deeply recessed for inlays (now missing), beneath a heavy brown with incised ridged details. The head detailing small curving horns, two small-folded ears beneath the horns. Item comes with a professional historical report from Ancient Report Specialists. For similar see: Bonhams, 16th April 2015, lot 44. For a gold example see: Musee de Louvre, Paris, acc. No. AO 14680. The bull votive may stand for the god Baal in animal form who in his human shape is also depicted with horns. Size: L:50mm / W:70mm ; 24gProvenance: Property of a London collector A. J., acquired from Rasoul Gallery, Mayfair, 1996; formerly in an old European family collection formed in the late 1970s.
Ca. 618–907. Chinese Tang Dynasty (or later).. A beautiful marble statue of a seated bodhisattva depicted wearing voluminous robes elegantly draped over his wide shoulders and broad, muscular chest and cascading in deep folds over his pendant legs, falling to the sides of his seat and continuing down his back; the remains of his left arm resting on one thigh.Bodhisattvas are common figures in Buddhist literature and art. A bodhisattva is one who seeks awakening (bodhi) — hence, an individual on the path to becoming a BuddhaPerhaps the most striking feature of this marble fragment is its realistic portrayal of a seated figure revealed beneath drapery. The remains of his thick neck and developed pectoral muscles appear above his inner garment that crosses from his left shoulder downwards to the right hip. The voluminous outer garment spreads in unevenly spaced pleats and folds that suggest the natural effects of gravity as they fall across the arms, pendant legs and the front edge of the seat supporting him. Item comes with a professional historical report from Ancient Report Specialists. Size: L:300mm / W:220mm; 15.9kgProvenance: Collection of Chinese Stone Figures. Ex Collection of Roger Moss; The C Roger Moss OBE, 1936 - 2020 collection formely the President of "The oriental ceramics Society", these stone sculptures were acquired during his life in Hong Kong 1980 - 2003.
Ca. 100-300 AD. A schist stone head of a Buddha. He is depicted with wavey hair gathered up in a topknot above a headband. His face characteristically has drooping, half-closed eyes, characteristic of his depictions under the Kushan Dynasty, and he is shown with a slender, wavey moustache above his full lips. His forehead is decorated with the dot called the Urna, which represented the third eye that saw beyond the material limits of the world. The Buddha form was used to depict both the original Buddha Gautama as well as anyone who became a Buddha by achieving Nirvana. The Buddha was not expressed in sculpture in Gandhara before the 1st century AD, before which he was only alluded to with symbols. From this time though, Gandharan art depicted Buddhas with a captivating mix of traditional Buddhist iconography and style, and the naturalism and soft features of Classical art, since this region was greatly influenced by the conquests of Alexander the Great many centuries earlier and the subsequent Greek settlers. For more information on Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press.Size: L:390mm / W:265m; 12.90kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Ca. 2112-2095 BC. A nearly rectangular in shape brick fragment, inscribed with a central square of four columns of cuneiform text, "Ur-Nammu, king of Ur, who built the temple of Nanna". Ur-Nammu (??????) was a Sumerian king from 2112 to 2095 BC. He founded the III Dynasty of Ur and was the founder of the temple of Nanna, the Mesopotamian god of the moon and wisdom. Size: L:100mm / W:400mm ; 11.4kgProvenance: Property of a North London gentleman; previously acquired on the UK/European art market in the 1970s.
Ca. 200-300 AD. A richly carved in grey schist, combining naturalism of the classical Greek style with the Asian serenity of Buddhist art. He displays a serene expression recalling the compassionate disposition of the bodhisattva, who remains in the mortal realm to help sentient being free themselves from its grip of suffering. The head is finely shaped, the nose in aquiline, an elaborate coiffure that radiates from the top of the head and is fashioned in a loosely parted topknot, he has long curly hair and a moustache. The bodhisattva is adorned with braided necklace, the forehead is centred by an incised urna.Size: L:260mm / W:160mm ; 4.3kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.
Ptolemaic Period, Ca. 332-30 BC. An ancient Egyptian cartonnage mask of timeless beauty depicting the deceased who is shown wearing a tripartite wig, the lappets of which fall gently behind the ears to the level of the chest. These lappets painted a turquoise blue with shining gilded ends, are decorated with identical mirrored scenes of the god of the underworld Osiris. He is depicted wearing a white Crown and is seated upon a bennu or shrine the double-leaved doors of which are sealed closed with double bolts, one on top of the other. The shrines may portray the tomb of the deceased which is now eternally under the protection of Osiris. A reticulated pattern to the left and right and a horizontal frieze of flowers complete the bottom half of the mask's decoration. The top of the mask is decorated with a winged scarab in red and blue pushing a sun disc which is crafted in raised relief in the centre of the gilded hair band, which holds the wig in place. Dating to the Ptolemaic Period, this mummy mask displays the continuity of the existing pharaonic civilisation with new decorative motifs introduced by the ruling Greek/Macedonian culture. The lot is accompanied by the Art Loss Register Certificate, ALR Ref: S00218512. Item comes with a professional historical report from Ancient Report Specialists.Size: L:510mm / W:365mm ; 2.45KgProvenance: Property of a London doctor, formerly in the collection of M.D., private collector Oxfordshire; previously in the collection of N.H., Ontario; owned by descent; previously in an old Canadian collection formed in the 1970s. Exhibited: Olympia Art & Antiques fair, London June 2022.
Ca. 2050-1786 BC. A large limestone carved in raised relief with two columns of hieroglyphs containing titles of an official, the column on the left translated " The Seal Bearer (Treasurer) of the King of Upper Egypt. The sole companian..." and the second "{The one who is upon} His two River Bankks (meaning, one who is faitful to the Pharaoh), the Overseer of (The granary?) of Amun....". The titles are common to the Middle Kingdom of Dynasty XII to which period this piece can be assigned. Some normal light weathering to surface. Professionally repaired from three pieces. Custom mounted. Item comes with a professional historical report from Ancient Report Specialists. During Ancient Egypt’s Middle Kingdom stelae served and offer many different functions, not only funerary but also marking territories and publish law and decrees. The ancient Egyptians were renowned for their stelae; one of the earliest examples was carved in the mid-to-late third millennium BC. Stelae were used to publish specific laws and decrees, to record a ruler’s achievements, commemorating military victories. As the Pharaohs of the Middle Kingdom repaired and restored Egypt’s stability, they formed a resurgence of art, literature, and monumental building projects which including tombs and burial objects. Montuhotep II was thought to the first pharaoh of the Middle Kingdom who restored stability after a period of pharaonic weakness and civil war. The most power pharaoh of the Middle Kingdom was Senusret III who was led the kingdom to an era of peace and prosperity producing many beautiful limestones wall fragments and stelae providing accounts of his achievements. BIBLIOGRAPHY Oppenheim, Adela. “Egypt in the Middle Kingdom (Ca. 2030-1650 B.C) “In Heibrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Grajetzki, Wolfram. The Middle Kingdom of Ancient Egypt: History Archaeology and Society. Hayes, William C. The Scepter of Egypt: A Background for the Study of Egyptian Antiquities 2 vols. Cambridge.: Harvard Press, 1953-59.Size: L:733mm / W:330mm ; 22.KgProvenance: Private London, UK collection; formerly in NYC collection, ex. Secret Eye Gallery, N. Y. C., acquired in the 1970s
Ca. 100-200 AD. A beautiful cast-bronze oil lamp in the shape of a right foot wearing a sandal. The lamp has two openings, each finely detailed with foliate designs. The handle of the lamp is in the form of an acanthus leaf, with a ring at the bottom, and the spout and neck are decorated in the form of buds.? The hole where a wick would be placed protrudes beside the foot's big toe. The hole for filling runs through the hollow ankle. The presence of two small loops might suggest, that this lamp was designed for suspension. This type of lamp was widespread in the first two centuries AD. It is likely that they were associated with the Eastern cult of Serapis, and it is no coincidence that this type of lampstand was popular among the legionaries positioned on the outskirts of the Empire, who were among the first to adopt and then spread the cults of Eastern deities among the population of the Roman Empire. Item comes with a professional historical report from Ancient Report Specialists. For a similar example, see Christie's, Live Auction 2007, Antiquities, 4 Jun 2008, Lot 252. Scientific sources : cf. Siegfried Loeschcke, Lampen aus Vindonissa, Zurich (1919), pl. XXIII:1084-1085, p. 161F for a discussion; Bailey, Donald M. A Catalogue of the Lamps in the British Museum, IV, Lamps of Metal, and Stone, and Lampstands. London: British Museum Press, 1996.Size: L:50mm / W:165mm ; 410gProvenance: Property of an European collector; bought from a UK gentleman collection, formed in the 1960s-1990s.
Ca. 100-300 AD. A rock crystal intaglio bearing an engraved gryllos motif, comprising a bust of left-facing Minerva wearing a plumed helmet, and two bearded men, one in the nape of her neck, the other on top of the head, set in a possibly later gold ring comprising D-shaped hoop with amphora-shaped shoulders. The gryllos (from the Greek for a caricature) is an elusive figure in Roman mythology, who is often depicted as a conjoined old and young man, as in this example, and is commonly associated with the occult. Excellent condition; wearable.Size: D: 18.54mm / US: 8 1/2 / UK: Q1/2; 14gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in before 2000 on the UK art market.
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