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Click here to subscribeA mixed group of silver plate including; two silver bowl with handles, a toast rack, a miniature chalice, a grape fruit set, a square entree dish, an Art Deco entree dish, a hot water jug, two sugar bowls, milk jug, a soup ladle, cased pair of butter spoons, a cased dessert set with mother of pearl handles- one missing, (a lot)
A mixed group of jewellery, including an Art Deco paste set brooch/clips; costume jewellery pendants and chains; a blue faced dress watch; a vintage Avia watch; two long service badges dated 1941 & 1945; a Celtic style ring; and a selection of silver jewellery including a brooch, medal, pin badge with enamelling, Mizpah brooch, Celtic cross and chain, etc, silver either hallmarked, marked 925 or STG, total gross weight of silver 45.5grams, (Qty)
Five modern heavily beaded ladies bags, all in good condition. A cross body bag, embellished all over with bugle beads in black, with a single art-deco-style floral motif on one side in deep pink, black gold and blue beads, with a black cord strap, inside credit card pocket, zip closure, 5.5 x 8'. A cross body bag, embellished all over with seed beading in gold, pearl, blue, and pinks, sewn in rows across the top and columns across the bottom of the horseshoe shaped bag, with a black twisted cord strap, inside credit card pocket, 7 x 7'. A hand bag embellished all over with denseley arranged black sequins, and tassels of seed beading each finished with a black diamond drop bead, having a handle of twisted black seed beads, silver zip closure and inside credit card pocket, 6 x 6'. A cross body drawstring bag, in gold woven fabric, embellished all over with seed beading of gold, browns, and blues, sewn in foliate and striped patterns across the horseshoe shaped bag, with a twisted seed beaded strap, brown beaded loop fringing around the edge, additional magnetic popper closure, inside credit card pocket, 7 x 9'. A cross body bag, of an art-deco style scalloped shell shape, embellished all over with spherical plastic beads in black,with a black cord strap, inside credit card pocket, zip closure, 8.5 x 7 x 2'.
Emilio Pucci Blue/Multi Scarf PurseThis stunning vintage Emilio Pucci scarf features a vibrant and iconic print, showcasing the brand's signature bold colours and intricate designs. The colour way is of a blue mix. Uniquely designed, the scarf is elegantly complemented by a chic purse attached via a stylish metal chain, offering both functionality and flair. Crafted from luxurious silk, this versatile piece can be worn as a scarf or used as a statement accessory, making it a perfect addition to any wardrobe. Ideal for collectors and fashion enthusiasts, this Emilio Pucci creation is a timeless blend of art and fashion. The piece is UNWORN and in perfect condition.
Emilio Pucci Pink/Multi Scarf PurseThis stunning vintage Emilio Pucci scarf features a vibrant and iconic print, showcasing the brand's signature bold colours and intricate designs. The colour way is a pink mix. Uniquely designed, the scarf is elegantly complemented by a chic purse attached via a stylish metal chain, offering both functionality and flair. Crafted from luxurious silk, this versatile piece can be worn as a scarf or used as a statement accessory, making it a perfect addition to any wardrobe. Ideal for collectors and fashion enthusiasts, this Emilio Pucci creation is a timeless blend of art and fashion. The piece is UNWORN and in perfect condition.
Vintage Hermes Fleurs de Lotus 100% silf scarf in Orange/Bronze/MultiDesigned by Christiane Vauzelles in 1961,Vauzelles (this is 1985 issue) was a celebrated French designer known for her intricate patterns and bold colour combinations, she had varying themes but her love for flora and fauna was so perfectly shown in her pieces, like this one. A fun fact about Vauzelles, she was one of very few designers who didn’t sign her designs but her works are so highly regarded and recognisable, no one could mistake Vauzelles work for anyone other than hers. This particular design of hers is one of her classics, the vibrant colour way of this piece encapsulates the timeless style and sophistication of the 60’s, making it something that could be kept for wearing or framed and hung as an art piece. The scarf measures 35" x 35” and is in pristine condition, it has been stored and cared for meticulously since its purchase. The hem is hand rolled to the vibrant side of the scarf and stitched with thread that is an exact colour match with the border to the back.
ITEM: Bread stamp with inscription 'L SEB I... / EVPHROS T...'MATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 27 mm x 54 mm x 25 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1990 - 2000Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman bread stamps in bronze are fascinating artifacts that shed light on the intricacies of daily life in ancient Rome, particularly in the context of bread production and commerce. These stamps were used to imprint distinctive marks or logos onto loaves of bread, which served multiple purposes. Primarily, they helped identify the bakery that produced the bread, ensuring quality and authenticity. Such stamps often featured symbols, names, or even intricate designs that could indicate the baker’s identity, the type of bread, or specific characteristics of the bakery, providing both a practical and branding function.The use of bronze for these stamps reflects the material's durability and the value placed on precision in bread-making. Roman bakers would press these stamps into the dough before baking, leaving a permanent imprint that survived the baking process. This not only helped in differentiating between various types of bread but also acted as a form of quality control. The presence of these stamps on bread loaves was particularly important in bustling urban centers like Rome, where standardization and traceability were crucial due to the high volume of production and consumption.Archaeological finds of Roman bread stamps reveal a great deal about the economic and social aspects of Roman life. These stamps have been discovered in various regions of the empire, indicating a widespread and standardized practice. They provide insights into the organization of Roman bakeries and the role of bread in daily sustenance, as well as the administrative and regulatory aspects of Roman commerce. Additionally, the decorative and inscriptive elements on these stamps offer valuable information about Roman art, typography, and the symbolic meanings associated with different designs. Through these artifacts, we gain a deeper understanding of how the Romans managed food production and the significance of bread in their society.
ITEM: Ring depicting a dolphinMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 24 mm x 20 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.In ancient Rome, dolphins held significant symbolic meaning and were often associated with various aspects of Roman life, including maritime trade, naval power, and mythology. Depictions of dolphins, particularly in jewelry such as rings, were common in Roman art and material culture, serving both decorative and symbolic purposes. Dolphin-shaped rings were popular accessories worn by individuals of various social classes, showcasing the wearer's affinity for the sea, wealth, or personal taste.Dolphin-shaped rings were crafted from a variety of materials, including gold, silver, bronze, and precious gemstones, with each material conveying different messages and social statuses. Gold dolphin rings, for example, were considered luxurious items reserved for the elite and symbolized wealth, status, and prosperity. Silver and bronze dolphin rings were more affordable and accessible to the general populace, serving as fashionable accessories worn for everyday adornment and personal style.The dolphin motif in Roman rings also carried symbolic significance beyond mere aesthetics. Dolphins were often associated with the god Neptune, the Roman god of the sea, who was depicted riding dolphins in classical art and mythology. Additionally, dolphins were believed to be creatures of good fortune and protection, and wearing a dolphin ring was thought to bring luck and safeguard the wearer from harm during sea voyages or maritime endeavors.
ITEM: Applique with Apollo playing lyreMATERIAL: BronzeCULTURE: RomanPERIOD: 1st Century A.DDIMENSIONS: 88 mm x 36 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, Middlesex, formed in the 1980sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.IMPORTANT: Stand not includedIn Roman religion, Apollo was a significant deity who was adopted from the Greek pantheon and integrated into Roman worship with some modifications. Originally a Greek god of the sun, music, prophecy, and healing, Apollo retained these attributes in Roman tradition. He was often depicted as a youthful, beardless figure, symbolizing beauty, intellect, and artistic inspiration. His worship in Rome was multifaceted, reflecting his wide-ranging influence over various aspects of life and culture.One of Apollo’s key roles in Roman religion was as a god of prophecy and healing. The Romans revered him as a source of divine insight and guidance, and his oracle at Delphi was highly respected even in Rome. Apollo was also associated with medicine and healing, particularly through his connection with his son Asclepius, who was worshipped as a god of healing. Temples dedicated to Apollo, such as the Temple of Apollo on the Palatine Hill and the Temple of Apollo Sosianus, served as important religious and cultural centers where Romans sought his favor and guidance.Apollo’s influence extended into the arts and culture of Rome as well. He was considered the patron of music, poetry, and the arts, and his presence was a common motif in Roman art and literature. The Romans celebrated him with festivals and games, such as the Ludi Apollinares, which were held in his honor and included various public entertainments. Apollo’s role in Roman society reflected the broader adoption and adaptation of Greek deities into Roman religion, illustrating how the Romans synthesized elements of Greek culture with their own religious practices and values.
ITEM: Statuette of a LarMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 60 mm x 44 mm (without stand)CONDITION: Good condition. Includes standPROVENANCE: Ex French private collection, acquired between 1970 - 1980Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman statuette of a Lar represents one of the most common household deities in ancient Roman religion. Lares were protective spirits of the home and family, often associated with ancestors or local spirits of the land. Typically, these statuettes were placed in a family’s lararium, a small household shrine, and were central to daily rituals that invoked protection and prosperity. The figure of a Lar is usually depicted as a youthful male wearing a short tunic, often holding a cornucopia or a drinking horn, symbolizing abundance and well-being.The worship of Lares highlights the importance of household and domestic religion in Roman life. While grand public rituals took place in temples, the veneration of Lares was a personal, intimate practice carried out by individual families. The presence of these statuettes in Roman homes reflects a deep belief in the divine influence on everyday life and the desire to maintain harmony and protection within the household. The rituals often involved offerings of food, wine, or incense, emphasizing the reciprocal relationship between the family and the protecting spirits.These statuettes also reveal insights into Roman art and craftsmanship. Usually made of bronze, but sometimes of terracotta or other materials, the statuettes are finely detailed despite their small size, showcasing the skill of Roman artisans. The Lar statuettes are not just religious artifacts but also representations of Roman social values, emphasizing the importance of family, tradition, and continuity.
ITEM: Pilgrim flask (Ampulla) of Saint Menas and Greek inscriptionMATERIAL: PotteryCULTURE: ByzantinePERIOD: 7th Century A.DDIMENSIONS: 100 mm x 65 mm (without stand)CONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1960 - 1980PARALLEL: The Metropolitan Museum of Art, Accession number 17.194.2291Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Saint Menas pilgrim flasks, originating from the Byzantine period (roughly 5th to 7th centuries CE), are iconic clay vessels used by Christian pilgrims who visited the shrine of Saint Menas in Egypt. Saint Menas was a revered Christian martyr, and his shrine, located in Abu Mena near Alexandria, was a major pilgrimage site during the Byzantine era. Pilgrims would purchase these flasks at the shrine to carry home holy water or oil, believed to have healing and protective properties. These flasks served not only as religious souvenirs but also as physical reminders of the spiritual journey.Typically made of terracotta, the Saint Menas pilgrim flasks are small, flat, and round with a pair of handles on either side of the body for easy portability. The flasks were often stamped with images of Saint Menas, who is usually depicted standing with outstretched arms, flanked by two camels. This imagery refers to the legend of his death and burial, in which camels miraculously carried his body to its final resting place. The flask's design was both symbolic and functional, encapsulating the holiness of the relics pilgrims brought back.These flasks provide valuable insights into the religious practices and devotional culture of Byzantine Christianity. They reflect the importance of pilgrimage in the lives of early Christians and illustrate the role of material objects in fostering a connection between the faithful and the divine. The widespread distribution of these flasks, discovered across the Mediterranean, indicates the far-reaching influence of Saint Menas' cult and the vibrant exchange of religious practices within the Byzantine world.
ITEM: Piriform aryballos depicting bands and running dogsMATERIAL: PotteryCULTURE: Greek, Proto-CorinthianPERIOD: 675 - 650 B.CDIMENSIONS: 72 mm x 37 mm diameterCONDITION: Good condition, repairedPROVENANCE: Ex Swiss private collection, Dr. R.H., acquired in the Swiss art market in the 1980sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.Proto-Corinthian piriform aryballoi depicting running dogs are captivating examples of ancient Greek pottery that offer insights into the artistic and cultural milieu of the early Archaic period. These vessels, typically crafted from clay and adorned with intricate painted designs, feature scenes of hunting or animal motifs, such as running dogs. The piriform aryballos, with its distinctive pear-shaped body and narrow neck, was commonly used for storing perfumed oils or other precious liquids in ancient Greece.The depiction of running dogs on proto-Corinthian aryballoi suggests a connection to the world of hunting and outdoor pursuits, which held significant cultural and symbolic importance in ancient Greek society. Dogs were valued companions and skilled hunters in Greek culture, often portrayed in art and literature as faithful allies of heroes and gods. Scenes of running dogs on pottery may have served as visual representations of the hunt or as symbols of strength, agility, and loyalty.Proto-Corinthian aryballoi with running dog motifs also showcase the artistic techniques and stylistic conventions of the time. The intricate designs were painted using a black-figure technique, where black pigment was applied to the clay surface using fine brushes or incised lines, creating detailed patterns and images against a reddish-orange background. These vessels were produced in workshops throughout the Greek world, with distinctive regional variations in style and iconography.
ITEM: Horse harness fitting depicting saint with crossMATERIAL: BronzeCULTURE: ByzantinePERIOD: 5th - 7th Century A.DDIMENSIONS: 68 mm x 66 mmCONDITION: Good conditionPROVENANCE: Ex Austrian private collection, acquired in the 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.A horse harness fitting depicting a saint with a cross from the Byzantine period is a notable example of the intersection between art, religion, and practical objects in Byzantine culture. These fittings were part of the elaborate horse tack used by the elite, including military commanders and high-ranking officials. The depiction of a saint, often associated with Christian iconography, on such a fitting serves both a decorative and symbolic function. It highlights the Byzantine emphasis on integrating religious elements into everyday objects, reflecting the strong influence of Christianity in all aspects of life during this period.The craftsmanship of Byzantine horse harness fittings is remarkable for its attention to detail and the use of materials such as gold, silver, or enamel. The saintly figures depicted on these fittings were often rendered with a high degree of artistry, showcasing the skills of Byzantine metalworkers and jewelers. The imagery typically included a saint holding a cross, which served not only as a religious symbol but also as a sign of divine protection for the rider and their horse. The cross itself, a prominent symbol of Christianity, emphasized the sanctity of the individual and their commitment to the faith, linking the secular use of the harness fitting with spiritual significance.These artifacts also provide valuable insights into Byzantine social and military customs. The presence of religious imagery on horse harness fittings indicates the importance of faith in public and ceremonial life. Such fittings were often worn during official events, military parades, or religious processions, underscoring their role in both secular and sacred contexts. The use of religious symbolism on these practical items also reflects the broader Byzantine practice of imbuing everyday objects with spiritual meaning, reinforcing the pervasive influence of Christianity throughout Byzantine society.
ITEM: Aryballos with quatrefoil motifMATERIAL: PotteryCULTURE: GreekPERIOD: 6th Century B.CDIMENSIONS: 54 mm x 52 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Sussex, mid-20th century private collectionComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The aryballos with a quatrefoil motif is a distinctive type of ancient Greek vessel that emerged during the Geometric and Orientalizing periods (circa 900–600 BCE). The term "aryballos" refers to a small, globular container used to store oils, perfumes, or other precious substances. The quatrefoil motif, characterized by a four-lobed or four-petal design, was a common decorative element on these vessels. Aryballoi with quatrefoil motifs were often crafted from terracotta and decorated using the black-figure or red-figure techniques, which involved selectively applying slip (a liquid mixture of clay and water) to create contrasting images.The quatrefoil motif on these aryballoi was not merely decorative but held symbolic and cultural significance. The motif is reminiscent of floral patterns and was likely inspired by nature. The four-lobed design could represent various symbolic concepts such as symmetry, balance, or the four seasons. Additionally, in ancient Greek art, the use of geometric and floral motifs often carried deeper meanings related to religious beliefs, mythological narratives, or social customs.These aryballoi were practical as well as ornamental, serving a utilitarian purpose in daily life. They were designed for the storage and transportation of oils and perfumes, making them valuable personal items. The small size and portability of aryballoi with quatrefoil motifs suggest that they may have been used in grooming rituals or as offerings in religious ceremonies.
ITEM: Patera, Pompeii TypeMATERIAL: BronzeCULTURE: RomanPERIOD: 1st Century B.C - 1st Century A.DDIMENSIONS: 55 mm x 190 mm x 332 mmCONDITION: Good conditionPROVENANCE: Ex Emeritus collection (USA), collected from the 1950’s to the 1980’s by a distinguished university professor who served as Department head, Dean and Vice President of a major university.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman pateras were shallow, circular dishes or bowls with a handle, primarily used for religious and ritualistic purposes in ancient Rome. These vessels were typically crafted from bronze, silver, or ceramic, and their design made them easy to carry and use during sacrificial rituals. The primary function of a patera was to pour liquid offerings, such as wine, milk, or water, to the gods during religious ceremonies. As an essential part of Roman religious practice, pateras were used in both public and private contexts, from large-scale temple rituals to personal household worship. Their simple yet functional design allowed for easy handling during these sacred acts.The decoration of Roman pateras often reflected their religious purpose. Many pateras were adorned with intricate designs, including depictions of gods, goddesses, and mythological scenes, as well as geometric patterns. The presence of such imagery on these vessels not only enhanced their aesthetic value but also emphasized their sacred function. For example, pateras might feature images of deities like Jupiter, Mars, or Bacchus, depending on the specific ritual or offering being performed. The craftsmanship of these objects varied, with more elaborate pateras being used by wealthier individuals or in major temples, while simpler versions were more common in everyday religious practices.Beyond their use in religious ceremonies, pateras also served as symbols of piety and devotion. They were sometimes included in burial offerings or depicted in funerary art to indicate the deceased's religious dedication or role in sacrificial rituals. In Roman military contexts, the patera also held significance as a symbol of the connection between the army and the gods, as soldiers would make offerings before battle or during religious festivals.
ITEM: Statuette of a seated womanMATERIAL: PotteryCULTURE: Greek, Hellenistic periodPERIOD: 3rd - 1st Century B.CDIMENSIONS: 135 mm x 35 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Sussex, mid-20th century private collectionComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.During the Greek Hellenistic period, which spanned from the death of Alexander the Great in 323 B.C. to the establishment of the Roman Empire in 31 B.C., the art of sculpture underwent significant developments, marked by a departure from the idealized forms of the Classical era towards greater naturalism and emotional expression. Among the notable sculptures from this period is the Statue of a Seated Woman, also known as the "Pergamon Woman," dated to the 3rd century B.C. This sculpture exemplifies the Hellenistic style's emphasis on capturing realism and individuality, as well as the portrayal of complex emotions.The Statue of a Seated Woman is a marble sculpture depicting a woman seated in a relaxed posture, her body gently leaning to one side with her legs crossed elegantly. Her facial features are rendered with remarkable detail, conveying a sense of introspection and emotion. The woman's hairstyle, drapery, and jewelry are intricately carved, adding to the lifelike quality of the sculpture. The absence of idealized proportions and the focus on naturalistic details distinguish this work as characteristic of the Hellenistic period.This statue is believed to represent a goddess, nymph, or possibly a mortal woman depicted in a divine or heroic context. The sculpture's serene expression and contemplative pose suggest a moment of quiet introspection or divine communion.
ITEM: MirrorMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 86 mm diameterCONDITION: Good conditionPROVENANCE: Ex American private collection, New Jersey, acquired before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.Roman bronze mirrors were essential personal items in ancient Roman society, serving both practical and symbolic purposes. These mirrors were typically made from bronze, a durable alloy that could be polished to a reflective surface. Roman mirrors were often small and handheld, with a circular or oval-shaped mirror plate set into a decorative bronze frame. The reverse side of the mirror often featured intricate engravings or relief decorations depicting mythological scenes, deities, or ornamental motifs.The use of bronze mirrors in ancient Rome was not limited to personal grooming but extended to various social and cultural contexts. Mirrors played a role in religious rituals, where they were used for divination, scrying, and other forms of magic and prophecy. In Roman funerary practices, mirrors were sometimes placed in tombs as grave goods, believed to assist the deceased in the afterlife or to symbolize the transition from life to death. Additionally, mirrors were prized as luxury items and status symbols, with finely crafted examples often given as gifts or heirlooms among the elite.Bronze mirrors also served as important artifacts in Roman art and material culture, providing valuable insights into ancient Roman aesthetics, craftsmanship, and social customs. The decorative elements found on Roman mirrors, such as mythological scenes, portraits, and floral motifs, reflect the artistic tastes and cultural values of the time.
ITEM: Statuette of an enthroned womanMATERIAL: PotteryCULTURE: Greek, Hellenistic periodPERIOD: 3rd - 1st Century B.CDIMENSIONS: 144 mm x 52 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Sussex, mid-20th century private collectionComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.During the Greek Hellenistic period, which spanned from the death of Alexander the Great in 323 B.C. to the establishment of the Roman Empire in 31 B.C., the art of sculpture underwent significant developments, marked by a departure from the idealized forms of the Classical era towards greater naturalism and emotional expression. Among the notable sculptures from this period is the Statue of a Seated Woman, also known as the "Pergamon Woman," dated to the 3rd century B.C. This sculpture exemplifies the Hellenistic style's emphasis on capturing realism and individuality, as well as the portrayal of complex emotions.The Statue of a Seated Woman is a marble sculpture depicting a woman seated in a relaxed posture, her body gently leaning to one side with her legs crossed elegantly. Her facial features are rendered with remarkable detail, conveying a sense of introspection and emotion. The woman's hairstyle, drapery, and jewelry are intricately carved, adding to the lifelike quality of the sculpture. The absence of idealized proportions and the focus on naturalistic details distinguish this work as characteristic of the Hellenistic period.This statue is believed to represent a goddess, nymph, or possibly a mortal woman depicted in a divine or heroic context. The sculpture's serene expression and contemplative pose suggest a moment of quiet introspection or divine communion.
ITEM: Duck mountMATERIAL: SilverCULTURE: Iron Age, CelticPERIOD: 2nd Century B.C - 1st Century A.DDIMENSIONS: 10 mm x 17 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Suffolk, acquired in U.K art market in 2015, before from English private collection, Kent.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Iron Age Celtic silver duck mount is a remarkable artifact that reflects the artistic and cultural sophistication of the Celtic peoples during the late Iron Age (around 500 BCE to the Roman conquest). The Celts, known for their intricate metalwork and symbolic art, often created decorative mounts and fittings for various objects, including weapons, chariots, and ceremonial items. The silver duck mount is an example of their skill in metalworking and their use of animal motifs, which were common in Celtic art, symbolizing various spiritual and cultural beliefs.This silver duck mount likely served as a decorative piece, possibly attached to a ceremonial object such as a shield, helmet, or chariot. The duck itself holds symbolic significance in Celtic culture, often associated with water, fertility, and the otherworld. Waterfowl, like ducks, were believed to be creatures that could traverse both the earthly and spiritual realms, making them potent symbols of transition and connection between worlds. The use of silver, a precious metal, further indicates the mount's importance, suggesting it may have belonged to a person of high status, perhaps a chieftain or a warrior of significant rank.The craftsmanship of the Celtic silver duck mount is notable for its detailed and stylized representation of the bird, reflecting the Celts' deep appreciation for nature and their ability to infuse symbolic meaning into their art. The design likely incorporated the flowing, curvilinear patterns typical of La Tène art, the dominant artistic style of the Celts during the Iron Age. This style is characterized by its intricate patterns and abstract forms, often inspired by natural elements.
ITEM: Statuette of a LarMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 75 mm x 33 mmCONDITION: Good conditionPROVENANCE: Ex Emeritus collection (USA), collected from the 1950’s to the 1980’s by a distinguished university professor who served as Department head, Dean and Vice President of a major university.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.In ancient Roman religion, the term lar refers to a household deity or spirit associated with the protection and prosperity of the family and home. The Lar was believed to be a guardian of the household, overseeing the well-being of its members and ensuring that the home was safe from harm. Each Roman family typically had its own Lar, which was honored through various domestic rituals and offerings. The veneration of these deities was an integral part of daily life and reflected the Romans' belief in the presence of divine forces within the domestic sphere.The representation of the Lar in Roman art often depicted the deity in a simple and approachable form, usually as a youthful figure or sometimes as an older, bearded man. The Lar was often shown with a short tunic, and in some depictions, it was accompanied by symbols of household prosperity, such as a cornucopia or a patera (a shallow dish used in offerings). Small household shrines, known as lararia, were dedicated to these deities and were typically located in a special part of the home. These shrines contained images or statues of the Lar, and family members would make offerings and perform rituals at these altars to honor the deity and seek their protection.In addition to their role within the household, Lares were also part of broader religious practices. They were associated with the penates, another class of household deities that were considered guardians of the pantry and the family’s food supply. Together with the Penates, the Lares were integral to the Roman familia's religious life, ensuring both physical and spiritual nourishment. The veneration of these deities was not limited to private homes; there were also public ceremonies and rituals that involved Lares, reflecting their importance in Roman society.The concept of the Lar illustrates the Romans' emphasis on the integration of religious practice into daily life. By venerating these household deities, Romans sought to ensure the stability and prosperity of their homes and families. The practice of honoring Lares through domestic rituals and offerings highlights the significance of personal and familial relationships with the divine in Roman culture. The study of Lares and their role in Roman religion provides valuable insights into the ways in which religious beliefs were woven into the fabric of everyday Roman life.
ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm x 27 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.
ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm x 27 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.
ITEM: Head of VenusMATERIAL: MarbleCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 205 mm x 185 mm x 230 mmCONDITION: Good condition, professionally cleaned.PROVENANCE: Ex Cassencarie House collection, Scottish baronial house now ruined, acquired mid-late 19th century, thence by family descentComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.In the Roman period, Venus was one of the most important and widely venerated deities, associated with love, beauty, fertility, and prosperity. She was the Roman counterpart to the Greek goddess Aphrodite, but her significance in Roman culture extended beyond her Greek origins. Venus was revered not only as a goddess of romantic love and personal beauty but also as a symbol of civic unity and military success. The Romans believed that Venus had a direct connection to the founding of Rome itself through her son, Aeneas, the Trojan hero who was considered an ancestor of Romulus and Remus, the legendary founders of the city. This link made her a guardian of the Roman state and its people.Venus held a central place in Roman state religion and political ideology. Julius Caesar famously claimed descent from Venus through the gens Julia, his family line, which traced its origins to Aeneas. This association elevated Venus to a special status in the Roman pantheon, where she was not only a personal deity of individuals but also a protector of Rome’s imperial destiny. Caesar dedicated a temple to Venus Genetrix ("Venus the Mother") in 46 BCE, reinforcing her role as a mother figure to the Roman people and the imperial family. Later emperors, including Augustus, continued to promote her worship, using her imagery and temples to strengthen the divine legitimacy of their rule.In Roman art, Venus was frequently depicted in statues, frescoes, mosaics, and coins. She was often shown in idealized form, representing the height of feminine beauty and grace, with flowing robes or depicted nude, emphasizing her role as the goddess of love and desire. Venus was a popular figure in private worship, and her temples were often visited by those seeking blessings in matters of the heart, fertility, or marriage. Her festivals, such as the Veneralia and Venus Verticordia, were celebrated with offerings of flowers and incense. Venus’s influence extended into all aspects of Roman life, from personal relationships to politics, symbolizing both personal allure and the broader power of the Roman state.
ITEM: Pendant with HeliosMATERIAL: Gold and silverCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 25 mm x 18 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, acquired before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.Helios was a prominent deity in both Greek and Roman mythology, representing the personification of the sun. In Greek mythology, Helios was often depicted as a handsome and radiant god driving a chariot across the sky each day, bringing light and warmth to the world. He was the son of the Titans Hyperion and Theia and was revered as one of the Titans himself. Helios was associated with various aspects of the sun, including its daily journey, its life-giving energy, and its ability to illuminate the heavens and the earth.In Roman mythology, Helios was known as Sol, and his attributes and characteristics closely mirrored those of his Greek counterpart. As Sol Invictus, the "Unconquered Sun," he was worshipped as a powerful and invincible deity, particularly during the Roman Empire. The cult of Sol Invictus gained prominence during the late Roman Republic and reached its zenith under Emperor Aurelian in the 3rd century AD, when Sol became an official state god and was celebrated with lavish festivals and ceremonies.Helios/Sol was often depicted in art and literature as a majestic figure crowned with a radiant halo or aureole, riding a chariot pulled by fiery steeds across the sky. He was sometimes portrayed with a golden sun disc or a radiant solar crown, symbolizing his divine power and authority over the sun. Temples and shrines dedicated to Helios/Sol were erected throughout the Greco-Roman world, where worshippers paid homage to the sun god through prayers, offerings, and rituals.
ITEM: Handle with lion's maskMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 4th Century A.DDIMENSIONS: 160 mm x 110 mmCONDITION: Good conditionPROVENANCE: Ex American private collection, acquired from an antiques dealerComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman handle with a lion mask in bronze was a common decorative and functional feature on various objects during the Roman period, especially from the 1st century BCE to the 3rd century CE. These handles were often found on doors, chests, or large vessels like amphorae and cauldrons. The lion mask, a symbol of strength, power, and protection, was a popular motif in Roman art and architecture. The lion’s fierce expression, typically depicted with bared teeth and a flowing mane, conveyed a sense of authority and intimidation, making it an ideal design for door knockers or handles on important items.In terms of craftsmanship, these handles were meticulously cast using the lost-wax technique, which allowed artisans to produce detailed and lifelike designs. The lion mask handles often had loops or rings attached through the mouth or below the mask, functioning both as a grip for pulling or lifting and as an ornament. The bronze’s durability and ability to take on fine detail made it a preferred material for such objects, which needed to withstand regular use while still serving a decorative purpose. The skill involved in creating these handles reflected the high standards of Roman metalworking, with even mundane objects being imbued with artistic value.Beyond their practical function, lion mask handles held symbolic significance in Roman culture. Lions were associated with various deities, such as Jupiter (king of the gods) and Hercules (a hero known for his strength), as well as the concept of virtus, the Roman virtue of courage and military prowess. These associations made the lion an ideal guardian figure for homes, temples, and even military equipment. As such, the presence of a lion mask on a bronze handle would have not only served a practical role but also acted as a protective and prestigious symbol for the object’s owner.
ITEM: Plate with decorationMATERIAL: PotteryCULTURE: RomanPERIOD: 4th Century A.DDIMENSIONS: 40 mm x 183 mmCONDITION: Good conditionPROVENANCE: Ex Marius-Victor-Ernest Dumas private collection (North Africa and France), acquired in Tunisia between 1890 - 1920. M. Dumas was Controleur Civile (French colonial administrator) of the city of Sousse in Tunisia prior to World War I. This collection of Roman and North African antiquities has remained in the family for the past 100 years in the Haute-Savoie region of France.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman vessels in North Africa played a crucial role in the region's integration into the broader Roman Empire, facilitating trade, military transport, and cultural exchange across the Mediterranean. North Africa, particularly regions like modern-day Tunisia, Algeria, and Libya, became vital to the empire for its agricultural production, especially grain, olive oil, and wine. Roman vessels, including merchant ships, were essential for transporting these goods from the fertile plains of North Africa to Rome and other parts of the empire. The region's harbors, such as Carthage, Leptis Magna, and Sabratha, became bustling centers of maritime trade, connecting North Africa to Italy, Spain, and the Eastern Mediterranean.The design and technology of Roman vessels used in North Africa reflected the broader Roman advancements in shipbuilding. These ships were often built to be sturdy and capable of handling long voyages across the Mediterranean. They varied in size and purpose, with some designed for large cargo loads, while others were used for military purposes, like protecting coastal regions or transporting soldiers. Roman merchant vessels, typically equipped with a single large sail and several oars, were key to moving bulk goods, such as African grain and oil, which became the lifeblood of Rome, particularly in times of food shortages.The cultural exchange facilitated by these Roman vessels in North Africa was profound. Along with goods, ideas, religions, and art traveled across the sea, leading to the spread of Roman culture and the development of a distinct Romano-African identity. Roman amphorae, ceramics, and other artifacts discovered in North African archaeological sites reveal the extent of this interaction. Roman architecture, language, and customs became deeply rooted in the region, blending with local traditions to create a unique cultural landscape. Roman vessels, therefore, were not just tools of commerce, but vehicles for the transformation of North Africa into a crucial and vibrant part of the Roman world.
ITEM: Oil lamp with inscription 'The light of Christ shines for all'MATERIAL: PotteryCULTURE: ByzantinePERIOD: 4th - 5th Century A.DDIMENSIONS: 30 mm x 59 mm x 85 mmCONDITION: Good conditionPROVENANCE: Ex Palestine private collection, acquired in the 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.A Byzantine oil lamp inscribed with the phrase "The light of Christ shines for all" is a remarkable artifact that reflects the deep spiritual and theological beliefs of the Byzantine Empire. This inscription emphasizes the central role of Christianity in daily life and religious practices during the Byzantine period. Oil lamps were essential for both practical illumination and religious rituals, and incorporating a Christian message into their design highlights the integration of faith into everyday objects. The inscription serves as both a devotional statement and a reminder of the divine presence in the lives of believers, making the lamp a significant symbol of Christian piety and enlightenment.The design and craftsmanship of Byzantine oil lamps were highly refined, often made from materials such as clay, metal, or glass. These lamps frequently featured intricate decorations, including religious symbols, motifs, and inscriptions. The inclusion of the inscription "The light of Christ shines for all" on the lamp would have been achieved through engraving or molding, demonstrating the skill of Byzantine artisans. This inscription not only personalized the lamp but also reinforced the idea that light, both physical and spiritual, is a manifestation of Christ's presence and guidance in the world. The lamp's practical function as a source of light was thus imbued with deep religious significance.In addition to its spiritual message, the Byzantine oil lamp with this inscription provides valuable insights into the religious and cultural practices of the period. The lamp would have been used in private homes, churches, or during religious ceremonies, emphasizing the importance of maintaining a connection with the divine in various aspects of life. The presence of such an inscription also reflects the broader trend of incorporating Christian themes into art and everyday objects, illustrating how Byzantine art and material culture were deeply intertwined with religious beliefs.
ITEM: Sole of a shoe with hobnail holesMATERIAL: LeatherCULTURE: Roman, GaulPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 203 mm x 73 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, South-West France, acquired before 1980s PARALLEL: BRITISH MUSEUM Collection, Accession number 1856,0701.7247, 1856,0701.1045, 1856,0701.7235 and 1856,0701.7237Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The soles from the Roman period represents a common feature of Roman military and civilian footwear, particularly the caligae, the heavy-duty sandals worn by Roman soldiers. Hobnails were small metal studs or nails inserted into the soles of shoes to provide extra durability, traction, and protection, especially for those who frequently marched on rough terrain. The soles of Roman shoes were typically made from thick layers of leather, into which these nails were driven, creating a robust and long-lasting sole. Hobnails not only prevented excessive wear but also improved grip, making them essential for soldiers who had to navigate diverse landscapes during campaigns.In terms of construction, the hobnails were inserted from the inside of the shoe, with their heads secured within the leather to prevent discomfort for the wearer. The nails’ pointed ends protruded through the outer surface of the sole, forming a grid-like pattern. These shoes, with their studded soles, became iconic of the Roman military and are often depicted in Roman art and statues. Civilians, too, used hobnailed shoes, particularly those who worked in agriculture or traveled long distances, where the enhanced durability was essential for daily life. Excavations at military camps and Roman settlements frequently uncover these soles, with the distinctive pattern of hobnail holes still visible.Hobnail shoes not only had a practical function but also carried symbolic and tactical significance in the Roman period. For soldiers, the sound of hobnailed boots—often described as a clattering or stomping noise—became a symbol of Roman military presence and power. The sound alone could instill fear in enemies. Additionally, the tough soles protected soldiers’ feet during long marches, allowing the Roman legions to cover vast distances more effectively. Archaeological finds of these shoes, particularly at battlefields and military forts, provide valuable insights into Roman military life, showing how practical innovations like hobnail soles contributed to the strength and mobility of Rome’s armies.
ITEM: Statuette of a horseMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 40 mm x 41 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.In the Roman period, statuettes of horses held various symbolic and practical roles in Roman society. Horses were crucial to the Roman military, agriculture, and transportation, and their representation in art and statuary reflected their importance. Small bronze or terracotta horse statuettes were popular as decorative items in domestic settings, showcasing the Romans' appreciation for the beauty and strength of these animals. These statuettes were often crafted with great attention to detail, capturing the anatomy and spirit of the horse in a miniature form.Horse statuettes also had a significant role in religious practices and rituals. In the Roman pantheon, various deities were associated with horses, such as Neptune, the god of the sea, who was often depicted with sea horses. Epona, a Celtic-Roman goddess, was specifically linked to horses and was worshipped as a protector of horses and riders. As such, horse statuettes were used as votive offerings in temples dedicated to these deities or as personal talismans for those seeking divine favor or protection for their equine companions.Additionally, horse statuettes were employed in funerary contexts. They were sometimes placed in tombs or used as grave markers to symbolize the deceased's affinity for horses or their status in the afterlife. The Roman belief in an afterlife and the importance of personal possessions in burial practices led to the inclusion of various symbolic items, including horse statuettes, to accompany individuals into the next realm.
AN ART DECO STYLE DIAMOND RING Featuring an emerald cut diamond weighing approximately 0.60 Cts, mounted in an unmarked white metal setting, accented with round brilliant cut diamonds totalling approximately 0.35 Cts. US Size 5 4.1g Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Additional Information: Property from the estate of Lie Ee Hooi, Grace aka Lee Ee Hooi
A CARTIER ART DECO DIAMOND AND SAPPHIRE CLIP BROOCH, in the form of an eye, early 20th century, the white metal mount possibly 18ct white gold, set with an emerald cut sapphire surrounded by over forty round brilliant cut diamonds and an outer band of ten baguette cut diamonds, total diamond weight of approximately 2.5 carats, 27mm high, 12.3 grams
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