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Click here to subscribe17th-18th century A.D. Incuse tendrils to the shoulders, stylised shield motif to the bezel. 3.74 grams, 23.65 mm overall, 20.30 mm internal diameter (approximate size British U 1/2, USA 10 1/4, Europe 23.15, Japan 22) (7/8 in.). Private collection formed since the 1940s. UK art market. Property of an Essex gentleman.[No Reserve]
19th-20th century A.D. Green glass cloison with profile bust of a bearded man with laurel-leaf crown. 8.99 grams, 25.82 mm overall, 19.73 mm internal diameter (approximate size British T, USA 9 1/2, Europe 21.26, Japan 20) (1 in.). Acquired by the vendor's father on the UK art market, before 1990.
Circa 16th century A.D. Rectangular bezel with stylised bird above foliage within a border, geometric detailing to the shoulders. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 654, for type.5.18 grams, 22.86 mm overall, 19.04 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18) (7/8 in.). Private collection formed since the 1940s. UK art market. Property of an Essex gentleman.[No Reserve]
Circa 3000 B.C. Bearing pictographs to the two principal faces; of pillow-shaped form. Cf. similar item in the British Museum, London, under accession number 1989,0130.4/ BM No.140855 and published in MacGregor, N., A History of the World in 100 Objects, London, 2010 (cat.no.15, pp.90-94).112 grams, 89 mm (3 1/2 in.). Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members.Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. The collection is exceptional for the variety of types, including some very rare and well preserved examples. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.201149. The purpose of these items is not known for sure but the combination of pictograms and impressed points has led to the suggestion that they were used for tallying quantities of various commodities. [A video of this lot is available to view on Timeline Auctions Website.]
Circa 3000 B.C. Inscribed on one face with a seven-panelled pictographic grid, with a branch above; the reverse inscribed with a branch and a motif containing two drilled circles. Cf. similar tablet in the collection of the British Museum, London, under accession number 114789.42 grams, 69 mm (2 3/4 in.). Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. The collection is exceptional for the variety of types, including some very rare and well preserved examples.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11335-190939.
16th-17th century A.D. The hoop expanding at the shoulders to an octagonal bezel, engraved with a centaur advancing right, looking left, holding a branch, within a linear border. 10.65 grams, 24.21 mm overall, 19.57 mm internal diameter (approximate size British T, USA 9 1/2, Europe 21.26, Japan 20) (1 in.). London art market before 2000. Property of an Essex gentleman.[No Reserve]
16th-early 17th century A.D. Slender carinated hoop with splayed shoulders and chased ornament, tiered rectangular bezel displaying stylised petals, scalloping above, set with cut and polished emerald inlay. Cf. The British Museum, museum number 1872,0604.425, for similar; cf. The V&A Museum, accession numbers 947-1871 and 731-1902, for similar.4.75 grams, 23.84 mm overall, 18.95 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15) (7/8 in.). Acquired 1990s-early 2000s. East Anglian private collection.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.201078. [A video of this lot is available to view on Timeline Auctions Website.]
Circa 16th century A.D. Composed of a quatrefoil bezel set with a point-cut diamond, raised and chased shoulders displaying volutes, billeting and pellets, with trace remains of black enamel. Cf. Scarisbrick, D., Rings: Jewelry Of Power, Love and Loyalty, Thames & Hudson, London, 2013, pp.306-307, for similar rings and diamonds; cf. The V&A Museum, accession numbers M.220-1975 and 934-1871, for broadly comparable examples.2.98 grams, 24.46 mm overall, 16.75 mm internal diameter (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10) (1 in.). Acquired 1990s-early 2000s. East Anglian private collection.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.201075. The point-cut diamond was oftentimes used by the wearer to engrave a personal motto or message onto a pane of glass. [A video of this lot is available to view on Timeline Auctions Website.]
5th-4th century B.C. A fragment of amorphous form, decorated in relief with scrolling tendrils and anthemion, painted egg-and-dart ornament above, surmounted by moulded bands and a frieze of meander and chequerboard panels; remains of red and black painted pigment. 5.1 kg, 34.5 cm wide (13 1/2 in.). Private collection, Switzerland, 1960s. From the Sir Claude Hankes-Drielsma collection, prior to 2006. with Christie's, London, The Stanford Place Collection of Antiquities, 26 April 2006, lot 36.Accompanied by a copy of an Art Loss Register certificate number S00209802, dated 14 June 2021.Accompanied by a detailed collector's catalogue pages including description and photograph. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.203716.
Tang Dynasty, 618-907 A.D. Modelled in the round standing on a rectangular base, the animal's head bowed down and turned slightly left, shown with a long and immaculately-kept mane, short dressed tail, saddle cloth decorated with an 'animal skin' pattern and a harness adorned with pendants; the male rider seated in the saddle wearing a knee-length robe and riding boots, his arms positioned to hold reins (absent), a domestic dog perched on a covering behind him; semi-naturalistic anatomical detailing to both figures, the rider shown with a full beard and moustache, wearing a cap. Cf. The Metropolitan Museum, accession number 991.253.7a, b, for a broadly comparable figure.3.9 kg, 42 cm high (16 1/2 in.). Acquired 1980s-1990s. Ex West Country collection.Accompanied by an original thermoluminescence analysis report no. C122f84 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11702-199228. [A video of this lot is available to view on Timeline Auctions Website.]
Northern Qi Dynasty, 550-577 A.D. The animal's head raised, mouth open and ears pricked, integrally modelled saddle, caparison, bridle and plume; tail absent. Cf. Arthur M. Sackler Museum, From Court to Caravan: Chinese Tomb Sculptures from the Collection of Anthony M. Solomon, Cambridge, 2002, p. 92, no. 19, for a similar horse; cf. J.J. Lally & Co., Early Dynastic China Exhibition: Works of Art from Shang to Song, New York, 26 March - 26 April 1996, no. 5.2.85 kg, 39 cm high (15 3/8 in.). Acquired 1980s-1990s. Ex West Country collection.Accompanied by an original thermoluminescence analysis report no.C122g65 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11701-199226. [A video of this lot is available to view on Timeline Auctions Website.]
Tang Dynasty, 618-907 A.D. Modelled in the round standing on a rectangular base, one foreleg raised, head bent down and to the right, short dressed tail tied with a ribbon. wearing saddlecloth, saddle and harness adorned with bells; remaining polychrome pigmentation. See examples in the Dallas Museum of Art; cf. The Indianapolis Museum of Arts at Newfields, accession number 60.75, for similar.14 kg, 51.5 cm (2 1/4 in.). Ex Cotswold, UK, collection, 1970-1990.Accompanied by thermoluminescence analysis report no. C122d29 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.203476. [A video of this lot is available to view on Timeline Auctions Website.]
Tang Dynasty, 618-907 A.D. The horse modelled in the round galloping with a polo player in the saddle, poised to swing a mallet; the horse and rider with semi-naturalistic detailing, polychrome motifs to their garments and saddle cloth; mounted on a custom-made display base. Cf. The British Museum, museum number 1938,0524.114, for comparable.6.45 kg total, 57 cm long including stand (22 1/2 in.). Ex Cotswold, UK, collection, 1970-1990.Accompanied by an original thermoluminescence analysis report no.09CM260619 from Laboratory Kotalla. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.203484. [A video of this lot is available to view on Timeline Auctions Website.]
Tang Dynasty, 618-907 A.D. Modelled in the round with naturalistic anatomical detailing, standing on a rectangular base, with ears pricked forwards, dressed tail; the saddle and saddle cloth decorated with elaborate polychrome stylised flowers, detailing to the eyes and eyelashes. Cf. The British Museum, museum number 1938,0524.114, for a similar style of horse modelled in a different pose.14.1 kg, 62.5 cm high (24 5/8 in.). Acquired 1990s. West Country, UK, collection.Accompanied by a thermoluminescence report no.CJ162522022, issued by Laboratory Kotalla. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11362-192817. [A video of this lot is available to view on Timeline Auctions Website.]
Tang Dynasty, 618-907 A.D. Modelled in the round advancing on a polygonal base, head tossed backwards and mouth open exposing the animal's teeth and tongue, saddled with a camel bag decorated with beast heads, rider staring into the distance whilst playing a set of pipes held in his right hand, the left held lower with hand making a fist to grip reins; remains of polychrome pigmentation. Cf. The British Museum, museum number 1936,1012.228, for a Tang Dynasty camel figure.6.2 kg, 53 cm (21 in.). Acquired 1990s. West Country, UK, collection.Accompanied by an original thermoluminescence analysis report no.CJ22522022 from Laboratory Kotalla. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11369-192727. Camels symbolised the prosperity of the Silk Route- the trade routes between China, Europe, and the Middle East- as they were the main form of transportation in the caravans. A popular theme for Tang court painters and sculptors was that of foreign ambassadors submitting tribute to the emperor. Diplomatic missions and the concomitant opulent offerings were an important medium of international exchange. In the dynasty’s first decades, the Tang expanded control north and east to Goguryeo and Baekje in Manchuria and the Korean peninsula, north to the steppes of Mongolia, west to the deserts and oases of Central Asia, and south to parts of the present-day provinces of Guangxi, Yunnan, and northern Vietnam. These and other kingdoms sent staples and exotica: lions from Persia and rhinoceroses from the kingdom of Champa in south and central Vietnam, hawks from the Korean peninsula, ostriches sent by Western Turks, sandalwood from the Indonesian archipelago, cardamom from the coast of the Malay peninsula, indigo from Samarkand, and wool from Tibet. Even entertainers such as musicians, dancers, and performers, as depicted on this piece, were presented as gifts. As is evident in tomb paintings and figurines, international trade whetted a taste for striking and sumptuous fashions among the Tang elite. Leopard-skin hats and close-fitting sleeves, imitating the clothing of Central Asians and Persians to the west, were popular in the mid-8th century. High boots, practical for riding, were worn by both men and women, as were short tunics. [A video of this lot is available to view on Timeline Auctions Website.]
Tang Dynasty, 618-907 A.D. In floor-length courtly dress with hands enfolded within the sleeves; pink and green pigment, on an integral base formed as a train to the robe, some restoration. 7 kg, 59.5 cm high (23 3/8 in.). Acquired 1990s-2000. Ex D.N. collection.Accompanied by a thermoluminescence test certificate no.C122f60 issued by Oxford Authentication. Accompanied by a thermoluminescence test certificate no.CJ10255222022 issued by Laboratory Kotalla. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11249-189440. [A video of this lot is available to view on Timeline Auctions Website.]
Tang Dynasty, 618-907 A.D. Elongated piriform body with fluted panels to the chest and flanks, white and red pigment, square socket between the shoulders; restored with earlier elements. 5.85 kg, 41.5 cm wide (16 1/4 in.). Ex Cotswold, UK, collection, 1970-1990.Accompanied by thermoluminescence analysis report no.C118j1 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.203477. [A video of this lot is available to view on Timeline Auctions Website.]
Neolithic, circa 23rd-15th century B.C. Composed of three hollow conical feet, elongated body and everted rim, polychrome painted geometric motifs to body and neck. Cf. The Cleveland Museum of Art, accession number 2005.20, for similar.1.4 kg, 26 cm high (10 1/4 in.). Ex E. Bourke, MD, Yonkers, New York, U.S.A. Acquired on the U.S. art market. Ex property of a London gallery.Accompanied by thermoluminescence analysis report no.26AG08042022 by Laboratory Kotalla. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.201948. [A video of this lot is available to view on Timeline Auctions Website.]
Sukhothai, 15th-16th century A.D. Modelled in the round with semi-naturalistic features, the oval face with delicate features showing a serene expression, elongated earlobes and hair dressed in tiers of tightly-wound spiralling curls; top and most of back of the head absent, exposing a ceramic interior; some remains of lacquer and gilding, particularly to the ears, temples and neck; mounted on a custom-made display stand. 6.8 kg total, 44 cm high including stand (17 1/4 in.). with Nagel Auction, Stuttgart, Germany, 2006. Acquired from Galerie Arabesque, 2014.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.202173. Possibly Buddha bh?mispar?amudr?, the facial expression signifying the attainment of enlightenment. [A video of this lot is available to view on Timeline Auctions Website.]
5th-4th century B.C. Comprising a discoid body with raised rim, ribbed handle and openwork stylised panther to the terminal; mounted on a custom-made display stand; some restoration. Cf. Trofimova, A., Greeks on the Black Sea: Ancient Art from the Hermitage, J. Paul Getty Museum, 2007, item 29j; see also Leypunskaya, N. A., Olbian-Scythian Trade: Exchange Issues in the Sixth to Fourth Centuries BC, Oxford, 2007.1.8 kg total, 45 cm high including stand (17 3/4 in.). Acquired 1971-1972. From the collection of the vendor's father. Property of a London, UK, collector.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.202711. The 'Olbian type' mirror takes its name from the Greek colony of Olbia, a port on the Black Sea, which enjoyed close commercial links with the neighbouring Scythian territories. Olbian mirrors form an important element in this trade network, although whether the craftsmen who made them were Scythians or Greeks working in Scythian style for the Black Sea market is still undecided. The animal ornament of the mirrors reproduces the zoomorphic art used elsewhere by the Scythian elite.
Late Period, 664-332 B.C. Representing the head, chest and split forelegs of a lion with ochre-tan surface and applied black detailing; ledge to the reverse and socket to accept a mounting peg or mortice; mounted on a custom-made stand. Cf. Metropolitan Museum of Art, New York, under accession number 1977.170, for a similar item made in glazed composition.260 grams, 33 cm high (529 grams total, 35.5 cm high including stand) (13 in. (14 in.)). Swiss collection prior to late 1990s. Private London collection since 1999.[No Reserve]
Circa 6th-7th century A.D. Comprising a vertical arrangement of female heads wearing proplomas, alternating with green foliage; enclosed within a red-orange border with yellow bands, wave motifs to the edges; mounted in a custom-made glazed frame by Jean Bohne Pictures & Frames, New York, with a handwritten dedication to the reverse. Cf. Del Francia Barocas, L., Museo dell'Alto Medioevo, Roma, I materiali Copti, pp.166-167, nos.41 A-B-C, for similar textile figures and warp.728 grams total, 46 x 17.5 cm including frame (18 1/8 x 7 in.). From the private collection of Mr Vladimir Gregorietch Simkhovitch (1874-1959), Professor of Economics at Columbia University, U.S.A. Vladimir was a great collector of ancient art and works from his collection are kept in the Smithsonian Museum, the Metropolitan Museum of New York, and the Brooklyn Museum amongst others. The band was probably a segment from a curtain, carpet or parietal cover. [No Reserve]
Circa 3rd century B.C. Of piriform shape with a small foot, multi-petalled rosette within the shallow kick-up to base, vertically fluted body, ovolo ornament to the shoulder and flared mouth with rolled rim; six strain holes to the shoulder; held within a custom-made felt-lined display box. 132 grams, 13.5 cm high ( 765 grams total, 22 x 17 cm including box) (5 1/4 in. (8 5/8 x 6 3/4 in.)). with the Mahboubian Gallery, London, UK; acquired before 1972. with Bonhams, London, 26 October 2007, lot 213. Acquired on the London art market. The straining holes are an indication that the vessel possibly once had a spout.
26th Dynasty, 664-525 B.C. Displaying Wahibre, the birth name of the 26th Dynasty pharaoh Apries on one face; his throne name, Haaibre (rendered 'Apries' in Hellenistic times) on the other; repaired. 7.7 grams, 41 mm (1 5/8 in.). Acquired 1980s-1990s. Private collection of H. N., Milton Keynes, Berkshire, UK. This plaque was almost certainly once part of a foundation deposit of a temple built in the reign of this pharaoh. A similar, albeit slightly thicker, double-sided cartouche-shaped plaque of this king is in the Metropolitan Museum of Art (accession number 02.4.105b). [No Reserve]
New Kingdom, 18th Dynasty, 1550-1292 B.C. and later. Comprising fragments of mainly opaque blue glass displaying polychrome motifs; held in a clear-topped presentation case with clasp. 319 grams total, 14.5 x 13.5 cm including box (5 3/4 x 5 3/8 in.). Ex Japanese art market.London art market, 1996.
6th-7th century A.D. In silk and wool from a tunic or wall hanging, comprising: (i) a corner fragment of a tapestry showing two soldiers hunting, one with a cross traced as deigmaton on the round shield and a semi-spatha (sword) in his right hand, both dressed in Gothic tunics of green and off-white colour, black trousers and red sagia, escaping animals surrounding; (ii) a long segment (clavus) with a hunting scene comprising a cavalryman in green mantle, off-white tunic, shield and sword, a Nubian servant in exomis and holding a shield, chasing wild horses, antelopes, goats and hares, a third horseman half-visible on the right. Cf. Rutschowscaya, M., Coptic Fabrics, Paris, 1990, pp.41, 103-105, 117; Fluck, C., Vogelsang-Eastwood, Riding Costume in Egypt, origin and appearance, Leiden, Boston, 2004, fig.105, and esp. Col. fig.41.8 grams total, 19-26 cm (7 1/2 - 10 1/4 in.). Hermann Historica, Germany, auction 67, part of lot 2025. Property of a Kensington gentleman.Accompanied by an academic report by Dr Raffaele D'Amato of which this is a part. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.10681-174371 (part). Tabby technique on linen and wool. It is highly probable that this tapestry was part of a tunic decoration, the clavus (ii) running vertically on the breast; the corner fragment (i) forming the lower hem of the tunic. The representation of military characters, the red colour of the background, and the hunting parties – often associated with military training– indicate the likelihood that these are fragments from the military tunic of a high-ranking officer. [2, No Reserve]
Circa 3rd century B.C. Featuring a squat piriform body, flared cylindrical neck and short waisted stem with everted foot. 227 grams, 21 cm high (8 1/4 in.). UK collection, early 1990s and before. Acquired on the UK art market since the early 2000s. From a private collection, Lancashire, UK.[No Reserve]
3rd-2nd century B.C. Elliptical bezel with high-relief profile bust. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 64, for type.7.51 grams, 20.26 mm overall, 16.23 mm internal diameter (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10) (3/4 in.). Acquired on the German art market around 2000. From the collection of a Surrey, UK, gentleman.
Circa 3rd century B.C. The shallow 'bowl' or plaque with a squared tip, round-section shank and horned animal had finial with stylised detailing. 30.8 grams, 15 cm (6 in.). UK collection, early 1990s and before. Acquired on the UK art market since the early 2000s. From a private collection, Lancashire, UK.
2nd-1st century B.C. or later. Tanagra-type ceramic figure of a standing female wearing a himation, hands at her sides; hollow-formed with void to the reverse and to the underside; restored. See Uhlenbrock, J.P., The Coroplast's Art: Greek Terracottas of the Hellenistic World, Exhibition catalogue, New Paltz, NY: College Art Gallery, State University of New York, 1990.229 grams, 20 cm high (7 7/8 in.). Ex North Yorkshire deceased estate, 1990s.[No Reserve]
5th-3rd century B.C. The hoop leading to stepped shoulders and an oval-shaped bezel, displaying an incuse bird facing left. 5.49 grams, 23.66 mm overall, 19.10 mm internal diameter (approximate size British N 1/2, USA 6 3/4, Europe 14.35, Japan 13) (1 in.). UK collection, early 1990s and before. Acquired on the UK art market since the early 2000s. From a private collection, Lancashire, UK.[No Reserve]
4th-2nd century B.C. Composed of a hoop with convex outer face and an elliptical bezel bearing two incuse human figures, kneeling and facing each other. 5.11 grams, 25.35 mm overall, 21.01 mm internal diameter (approximate size British S, USA 9, Europe 20, Japan 19) (1 in.). UK collection, early 1990s and before. Acquired on the UK art market since the early 2000s. From a private collection, Lancashire, UK.[No Reserve]
1st century B.C.-1st century A.D. Each composed of a penannular body with stylised snake head terminals; each accompanied by a custom-made display stand. Cf. Constantinescu, B., Bugoi, R., Cojocaru, V., Niculescu, Gh., Oberlaender–Tarnoveanu, E., Radtke, M., 'The Sarmizegetusa bracelets' in Antiquity, 84 (326), p.1028–1042, fig.8.52.4 grams total, 64 mm each (119 grams total, 82 mm high including stand) (2 1/2 in. (3 1/4 in.)). UK art market, 2000s. The bracelets belong to the type with zoomorphic terminals, probably representing snake’s heads or dragons emerging from flat rectangular strips with incised decoration and continued as lobed bodies resembling stylised palm leaves or palmettes. This Thracian tradition is attested in the ancient kingdom of Dacia. [2]
3rd century A.D. and later. The coin mounted on 22 carat gold foil, framed with an art print signed by the artist David McAllister, depicting scenes of Roman military activity; limited edition number 65/1150. 1.3 kg, 36.5 x 49 cm (14 3/8 in x 19 1/4 in.). Essex gallery, early 2000s. David McAllister's exciting design is a 'one of a kind' work that portrays the might and riches of the Roman civilisation. This limited edition print is a celebration of the award winning artist's lifetime dedication to historical paintings of the ancient world. To enhance appreciation of this rare and historic work, each individual print is signed and numbered by the artist. [No Reserve]
1st century B.C.-1st century A.D. Of roughly spherical form, opaque polychrome checked design incorporating two stylised human faces. Cf. The Metropolitan Museum, New York, accession number 52.11.15, for type.1.34 grams, 10 mm (3/8 in.). Ex private collection, 1980s. Acquired on the UK art market in the 1990s.[No Reserve]
1st-2nd century A.D. For the deposition of ashes (absent), with bulbous body, everted rim and discoid foot, a stylised human face to the upper body expressed with three circular holes for the eyes and mouth, pinched nose in high-relief and raised eyebrows; repaired. Cf. Colchester Museum, Roman face pots, types associated with military cremations, COLEM:JOS.817, COLEM:2001.18.125 & COLEM:1923.4595; cf. The British Museum, museum number 1927,0607.2; cf. The Museum of Art, Budapest, Inv. no. 65.91.A, dated 1st-2nd century A.D.; cf. The Museum of London, id. BAA87[187], dated 2nd century A.D.5.13 kg, 34 cm wide (13 3/8 in.). Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. Cremation was the usual burial practice in early Roman Britain and whilst it was common for larger ceramic or glass domestic vessels to be reused as cinerary urns, this particular type was created specifically for the purpose and was strongly associated with military contexts in Britain. After death, an individual would have been cremated on a pyre, the ashes gathered once the fire had gone out, and finally placed into the pot. The pot may then have been placed into a small 'tile tomb' buried beneath the ground. The face clearly has symbolic meaning; it may represent the deceased or a god, or may have served an apotropaic function, intended to ward-off evil spirits. The exact meaning of the face would have been clearer when the vessel was in situ alongside other associated burial goods. Although there are similarities in style across the known sample of Roman face pots, each is unique in some way. Face pot finds are concentrated in Colchester in Britain, suggesting a military association, since Camulodunum, 'The 'Fortress of the War God Camulos', was the capital of Roman Britain and Britain's first city. A more robust military connection was established by the archaeologist Gillian Braithwaite, whose survey of thousands of face pot sherds demonstrated that their occurrence spread rapidly though the Roman Empire, from the Black Sea, to Spain, the Mediterranean and Scotland. Braithwaite was able to link the pots to the Roman army and thus explain this phenomenon; as the units moved from province to province, face pots occurred in that region for the first time. The frequency of complete face pots suggests their use as cremation urns.
3rd century A.D. Ellipsoid bezel with gusseted border. Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, item 196, for type.6.66 grams, 22.96 mm overall, 17.63 mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12) (7/8 in.). Acquired on the EU art market around 2000. From the collection of a North American gentleman.
2nd-3rd century A.D. Broad hoop with inset carnelian intaglio of a bee. Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, item 240, for type.12.47 grams, 26.81 mm overall, 21.33 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18) (1 in.). Acquired on the London art market, 1980s-1990s.
2nd-4th century A.D. or later. Ellipsoid bezel with incuse figure holding a sword and dagger. 3.68 grams, 22.36 mm overall, 19.10 mm internal diameter (approximate size British S, USA 9, Europe 20 , Japan 19) (3/4 in.). Private collection formed since the 1940s. UK art market. Property of an Essex gentleman.[No Reserve]
1st-3rd century A.D. With large suspension loop, curved shank and leaf-shaped finial. Cf. Beutler, F. et al., Der Adler Roms. Carnuntum und der Armee der Cäsaren, Bad-Deutsch Altenberg, 2017, item 759, for type.8.61 grams, 35 mm (1 3/8 in.). Acquired on the German art market around 2000. From the collection of a Surrey, UK, gentleman.[No Reserve]
Circa 1st century A.D. Comprising a shallow U-section curved head and rectangular handle folded at the top to create a suspension loop to reverse; repaired. Cf. The Metropolitan Museum, New York, accession number 74.51.5468, for similar.50 grams, 23.5 cm (9 1/4 in.). Acquired on the German art market around 2000. From the collection of a Surrey, UK, gentleman.
1st-2nd century A.D. Displaying the face of a bearded god, possibly Cernunnos or Pan, with curly hair and two horns in the shape of phallus; suspension ring to the top. 25.6 grams, 45 mm (1 3/4 in.). Acquired in the 1990s. Ex property of a UK gentleman. The head displays typical features associated with Romano-Celtic art, such as the lentoid eyes and the schematic rendering of the hair and beard. The head could be that of Pan, god of the wild countryside and of fertility in nature, thus making the phalli-shaped horns appropriate. It could also represent the Celtic god Cernunnos, a Gallic deity whose worship is known from Britain and the Continent from a number of monuments, inscriptions and figurines, as well as on the famous Gundestrup cauldron found in a bog in Denmark. His name means the Horned One, and is depicted as a bearded male wearing a torc around his neck and with large horns or antlers on his head. Representations of him are known from as early as the fourth century B.C. from the Paspardo rock carving at Val Camonica, Northern Italy. Other representations include the monument set up by Parisian sailors which was discovered underneath Notre Dame cathedral, and the relief carving from Cirencester where his legs are in the form of two snakes. The Celts' preoccupation with fecundity caused them on occasions to represent their male gods with oversized phalli, and a bronze figure of Mercury from Tongres, France, depicts the god with two phalli on his head. [No Reserve]For this specific lot, 5% import VAT is applicable on the hammer price
3rd-4th century A.D. Comprising: brooch formed with stepped crossbar and facetted central knop, slender bowl and facetted rectangular footplate; pin and catchplate to reverse; brooch with round-section arms and globular knop, facetted bow with three projections to base, slender footplate with worn remains of incised hatching. 13.6 grams total, 47-51 mm (1 7/8 - 2 in.). From the collection of an EU gentleman formed in the 1990s. Acquired on the UK art market.[2, No Reserve]
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