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Lot 83
A Black Forest carved Bavarian bear head with glass inset eyes on oak leaf decorated wall plaque, height 14cm. CONDITION REPORT: Several areas of surface losses particularly to the raised parts such as the nose, top of the ears and the plaque. Traces of general surface wear including scratches.
Lot 36
An 18th Century Sunderland Glaze Bowl:"Manchester Unity Independent Order of Odd Fellows" transfer to the inside of the bowl together with the verse "The Good Wife: Show me the wife that's on the watch, for every little rent, or scratch, and cures it with a timely patch, before you know it; she is a woman fit to match, a lord or a poet."the outer decorated with The Mariners compass and a sailing poem "Thou noble barque of brightest fame, that bear`st proud England's honoured name, right welcome home once more! Welcome thou gallant little sail, in England's name bid thee hail, and welcome to her shore."
Lot 281
A Staffordshire White Salt Glazed Stoneware Bear cub jug and cover, the seated animal with shredded clay fur, brown eyes and brown dotted collar, 26cm high CONDITION REPORT: Lid - cracked and reglued, snout chipped and pieces missing, Body - legs reglued, foot chipped, tail missing, in overall poor condition
Lot 678
EIGHT LILLIPUT LANE SCULPTURES FROM THE BRITISH COLLECTION, (black backstamp), to include 'The Boat Yard', L2411, 'Busman's Holiday', L2405, 'The Bluebell', L3632, 'Burley Street Garage', L2335, 'Bridle & Bit Stables', L2364, 'The Bell at Stilton', L3027, 'Burnham Thorpe Rectory', L2827 and 'Bear Necessities', L2452 (8)
Lot 792
FOURTEEN LILLIPUT LANE SCULPTURES FOR COLLECTORS CLUB/ANNIVERSARY, etc, to include 'Tyne Bridge', L3448 (exclusive to Collectors), 'Teapot Cottage', L2993, (2007/2008), Limited Edition 'Travelling Post Office', L3237, 15/1000, 'Thimble Cottage', (1995/1996), 'Two Pints Please', L2497, (2002/2003), 'The Toy Menders', L2665, (2004/2005), 'Tailor's House', L3392, 'Tailor's House in Winter', L3392a, (both Limited Edition of 1000), 'Teddy Bear Cottage', L2844 (Sales Promotion) etc (14)
Lot 654
SEVEN BOXED LILLIPUT LANE SCULPTURES, 'Black Bear Inn', L3729, '3 Pints Brewery', L3728, 'The Hop Pickers', L3727 (all 2015/16 Club Special/Symbol), 'The Malt House', L3730 (2015 Sales Promotion), 'Sweet Honeysuckle', L2802 (Visitor Centre Special), 'Stoneleigh Gatehouse and Stables', L3784 (2015 Annual Fair) and 'Days Gone By', L3733 (2015 Anniversary) (7)
Lot 1440
EDWARD ARDIZZONE ILLUS. "Hey Nonny Yes." ed H. Fordham, 1st, unclipped dj, 16mo 1947 vg; BRIAN FROUD ILLUS. "A Midsummer Night's Dream." 1st, unclipped dj, 1972 vg; MERVYN PEAKS ILLUS. "The Adventures of the Young Soldier ..." 1st, unclipped dj, 1943 vg; MAURICE SENDAK ILLUS. "Father Bear Comes Home." 1st, 1960 vg
![Dated 1684 AD. Obv: bear standing with MONETA BERNENSIS legend. Rev: cross with BERCII ZÆR I[ ]X legend and date. KM# 41. 0.](https://cdn.globalauctionplatform.com/969165bd-d380-4c05-83be-a70200d07166/033e85e5-ebfd-4854-db09-e1f5dfc1e776/468x382.jpg)
Lot 449
15th century AD. A large facetted D-section gold hoop with expanding shoulders, ridged rectangular bezel; pentagonal panel to one shoulder with radiating strokes beneath, reserved image of crowned and nimbate Virgin Mary with nimbate infant Jesus; similar panel to the other shoulder, reserved Calvary scene with Corpus Christi and nimbate winged head above; left panel of bezel with reserved image of nimbate S. Peter holding a key; right panel with similar image of St. Paul with book and drawn sword; to the inner face engraved legend in Lombard script '*Crucem.Christi.Gero*' (I bear the cross of Christ"). Cf. Oman, C.C. British Rings 800-1914 London, 1974, plate 22(D); Dalton, O.M. The Franks Bequest Catalogue of Finger Rings, London, 1912, item 753 for type. Accompanied by an Art Loss Register certificate. 21 grams, 30mm overall, 23.36mm internal diameter (approximate size British Z+3 1/2, USA 14, Europe 33.29, Japan 32) (1 1/4"). From an important jewellery collection; by descent through the Smigielski family; formerly with the current owner's grandfather Franz Retyk; acquired in Europe by her father or his brother in Belgium during the 1920s. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. Iconographic rings appear to be English in origin and originate in the late fourteenth century and continue into the fifteenth century, losing favour under the Reformation of Henry VIII. Iconographic rings are mostly religious in their subject matter with the most popular saints depicted on them being St Christopher and St Catherine, both of whom had important cults in medieval England and offered protection and intercession to the wearer. Other popular images included the Virgin Mary and, as on this ring, the Crucifixion. Some bear inscriptions that are either religious in nature, and therefore could have acted as prayer rings for personal devotion, or which sometimes have messages of love and therefore could have been given as love tokens and which underscores the the gift giving aspect of small scale jewellery. There are contemporary literary references to the rings being given as gifts, particularly at New Year, to protect the wearer, and many as such are inscribed with these sentiments. [A video of this lot is available on the TimeLine Auctions website] Very fine condition. A large wearable glove ring.
Lot 450
15th century AD. A facetted D-section gold hoop with expanding shoulders, octagonal bezel; zigzag band to top of shoulders and cross potent below; bezel with reserved image of St. Christopher carrying a nimbate Jesus over water, St. Christopher with staff and Jesus with orb surmounted by a small cross. Cf. Dalton, O.M. The Franks Bequest Catalogue of Finger Rings, London, 1912, item 725 for type; Oman, C.C. British Rings 800-1914, London, 1974, plate 22, items C, D. Accompanied by an Art Loss Register certificate. 16 grams, 24mm overall, 21.30mm internal diameter (approximate size British X 1/2, USA 11 3/4, Europe 26.92, Japan 25) (1"). From an important jewellery collection; by descent through the Smigielski family; formerly with the current owner's grandfather Franz Retyk; acquired in Europe by her father or his brother in Belgium during the 1920s. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. There are a number of stories relating to the origins of St Christopher, but the most popular was that recounted in the medieval Golden Legend that recounted him being a giant named Reprobus. He lived in Lycia, Asia Minor, who desires to serve whoever is the most powerful of kings. His first king appears to be afraid of the devil, so Reprobus reasons that the devil must be stronger and seeks him out. But the devil proves to be terrified by a wayside crucifix, so Reprobus abandons him and seeks the man on the Cross. A hermit teaches him about Christ, baptizes him as Christophoros, Christ bearer, and says he should serve the Lord by carrying people across an otherwise unaffordable river. One day Christopher takes a small child on his shoulders, who grows heavier and heavier as they cross the stream. The child explains, thou hast not only borne all the world upon thee, but thou hast borne him that created and made all the world, upon thy shoulders, and reveals himself as the Christ Child. He tells Christopher to plant his staff in the ground and it will bear leaf and fruit the next day. The miraculous staff later enables him to convert thousands of pagans in Lycia. Images of the saint crossing the river with the Christ Child on his shoulders came to be extremely common in western art from the 13th century until modern times. Pilgrims who looked upon an image of St. Christopher were believed to gain a special blessing, so many medieval and later churches put up statues of him on the exterior of the buildings. As the patron saint of travellers the images would also bless those undertaking pilgrimage to the holy places of Europe. Because of this association with travellers and pilgrims his image became popular on jewellery in the form medallions and rings such as this, where he would offer protection. [A video of this lot is available on the TimeLine Auctions website] Very fine condition. A large wearable size.
Lot 477
14th century AD. An elaborate enamelled bronze swivelling horse-harness banneret with rectangular bifacial plaque and lateral tube; the heraldic design with monkey surrounded by foliage with red fruit. Cf. Ashley, S. Medieval Armorial Horse Furniture in Norfolk, East Anglian Archaeology 101, Dereham, 2002, item 238 for type, 243 for heraldry. Hammond, B. Benet's Medieval Artefacts of England & The United Kingdom, Witham, 2015, p.193, item HP-26758. Recorded with the Portable Antiquities Scheme with reference number NMS-9F6934; accompanied by a print out of the PAS report. 33 grams, 44mm (1 3/4"). Found Norwich, Norfolk, UK, in 1976. Bannerets are rectangular (or occasionally heater-shaped) plaques with the design repeated on both faces but reflected i.e. a lion rampant will face the leading edge on both sides of the plaque. They were used by noblemen entitled to bear heraldic arms on their own equipment, and by their liveried retainers. Pendants and bannerets bearing the royal arms were probably used by royal officials such as sheriffs, bailiffs and stewards, and by their attendants. Bannerets usually display an enamelled heraldic motif and the tube on the leading edge demonstrates that they were meant to be seen vertically (rather than hanging or swinging in the manner of harness pendants"). They were attached to the horse's bridle or harness by means of a bronze rod or spigot; one example from Norfolk (Ashley, 2002, no.242) retains this element. A 13th century bronze aquamanile in Florence (Ashley, 2002, plate V) depicts an English nobleman on horseback with heater-shaped harness pendants on the horse's chest and a short plume above the horse's arched neck; it is probable that the banneret was similarly mounted in this position where it could be clearly seen but would not impede the use of the reins. Bannerets probably fell into disuse with the introduction of the full heraldic caparison for the horse and the statutary limitations on the use of liveries by retainers in the 15th century AD. [No Reserve] Fine condition. Rare.
Lot 540
Kassite, 14th century BC. An exceedingly rare chrome chalcedony cylinder seal with seated profile figure and Sumerian cuneiform inscription in eight columns; depicting a seated bearded divine figure facing left, holding a trident, three right-facing locusts above; the eight lines of scholarly Sumerian cuneiform text with a prayer to Ninurta for the prosperity of Kurigalzu's reign. Accompanied by Professor Lambert's transliteration and translation for each column which reads: (1) dkur-da-ru gada gìr / 'Ninurta, powerful lord' (2) sa? kal šà-aš-DU / 'special chief, foremost' (3) ururu mah an-ta-?ál / 'the lofty city (?) being in heaven' (4) ur-sa? dili-ni rib-ba / 'champion on his own standing out' (5) [di?ir] ní-su-ši ri-a / 'the god moving with a halo of terror' (6) ku-ri-gal-zu / '(on) Kurigalzu' (7) nun nì tuku-tuku-zu / 'the prince who reveres you' (8) bala šà dùg-ga ?ar-bi / 'place a reign of sweet heart'. The seal fitted with an antique gold pin passed through the original longitudinal perforation and a loop to enable it to be worn as a pendant; supplied with a museum-quality impression. Lüle, Çigdem, Non-destructive Gemmological Tests for the Identification of Ancient Gems, in Gems of Heaven, British Museum Research Publication 177, 2012, pp.1-3 for information on chrome chalcedony and its use in ancient times; examined by Dr. Ronald Bonewitz, with a scholarly note from him regarding the fabric of the seal, dated 17 December 2016. Lambert, W.G. Objects Inscribed and Uninscribed, in Archiv für Orientforschung, vol.23, Graz, 1970, p.49; Limet, H. Les légendes des sceaux cassites, Brussels, 1971, p.93, 6.26 and accompanied by copies of both articles, with images therein showing the gold pin in place. Accompanied by an Art Loss Register certificate. 24 grams, 51mm (2"). Property of a London gentleman; part of his family collection since the 1970s; inherited by the present owner from his father who acquired it between circa 1938 and 1950. The extremely rare green variety of chalcedony was only known to the ancients and the Romans, until circa 3rd century AD, when it disappears from history. It is only known from small worked pieces such as beads and intaglios. The source has been recently discovered as being from northern Turkey (Anatolia"). The colour derives from the presence of chromium; this piece is also of an excessively rare large size; with a printout of the Çigdem paper. Kurigalzu II (circa 1332-1308 BC on the short chronology) was the 22nd king of the Babylonian Kassite dynasty, placed on the throne by the Assyrian king, Aššur-Uballi?, who may have been a family member. He shares the same name as another king who apparently reigned earlier in the same century. Towards the end of his reign, Kurigalzu II turned against his Assyrian allies and defeated them in battle at Sugagu on the River Tigris. Kurigalzu's name is linked to a zaqiqu or 'incubation omen', in which a Kassite king (identified with him) tries to find out why his wife cannot bear a child. The transliteration of the text by Professor Lambert (1970), differs in detail from that of Limet (1971), but generally agrees as to the content of the text. Lambert identifies the text as 'Sumerian of the Cassite period seals, that is, a totally artificial language expressing Babylonian syntax and phraseology in a Sumerian often rich in recondite words and sign-values' and offers a reconstructed Akkadian version of the text as well as an English translation. 'Kuradaru' is a name of the deity Ninurta which occurs only in this text and in two other citations. The text is construed as a 'prayer for the Cassite king Kurigalzu, the second and last of the name, who ruled in the 14th century B.C. 'The seal 'obviously belonged to a servant of the king, but his name is not given.' The god shown seated in a long flounced robe raises his hand 'in a religious gesture ... a Cassite-period rendering of a very common figure on seals from the Old Akkadian to the latter part of the Old Babylonian period'. The three locusts above him may have been intended to identify the god, but if so the information is lost to us. The trident in the god's hand is less well executed than the rest of the design, leading Lambert to speculate that it may be a later addition. [A video of this lot is available on the TimeLine Auctions website] Extremely fine condition. Excessively rare and important; a museum quality exhibition piece.
Lot 689
Tang Dynasty, 618-907 AD. A ceramic figure of a prowling bear with detailing to the face and mane, hole to the underside; traces of pigment to the face. 1.43 kg, 25cm (9 3/4"). UK art market, acquired prior to 2000; accompanied by a copy of Thermoluminescence analysis report no. C116p74, by Oxford Authentication. Finely modelled.
Lot 804
16th-17th century AD or later. A large piriform bronze processional staff finial, or Alam, with rectangular-section shank, bands of silver-covered openwork tendrils with calligraphic text; mounted on a custom-made stand. See Canby, S. Shah 'Abbas: The Remaking of Iran, London, 2009, pp. 236-237, for a discussion on Alam. 1.9 kg, 55cm (21 1/2"). From a South West London collection; formed 1990-2000. Standards, known as alam, are used in many parts of the Muslim world by the Shi'a community in processions marking the martyrdom of Imam Husain, grandson of the Prophet Muhammad, who died at the battle of Karbala in 680 AD. They will often bear the names of Husain, the Prophet and members of his family, or quotes from the Qu'ran; as the alam was carried through the streets, the faithful would see the names of the Prophet, of his daughter Fatima, his son-in-law Ali and of the other imams. Alams are still used today in Shi'a processions though they are enormous in size and are carried by specially trained men. The Safavid Dynasty came to power in 1501, and it established Shi'a Islam as the state religion of Iran, a position it has held ever since. Fine condition; some silver absent.
Lot 2159
6th-7th century AD. A gilt-bronze bowl mount, sub-rectangular with an embossed elliptical panel below the loop, decorated with incised eye and mouth detail, the edges bear incised linear features which extend from the sides of the face onto the plate itself where they are confined within an incised border. Cf. Webster, L. & Backhouse, J. The Making of England. Anglo-Saxon Art and Culture AD 600-900, London, 1991, p.33. 9.56 grams, 36mm (1 1/2"). Found Norfolk, UK, before 2000. The features are reminiscent of the 'ancestral' faces on the whetstone from Sutton Hoo Mound 1 where an array of grim masks are portrayed with various permutations of full beards, 'mutton chops' and long hair radiating from the faces. [No Reserve] Fine condition.
Lot 2479
A museum-quality reproduction of a juvenile cave bear skull, Ursus Spelaeus from the Pleistocene Period (1 million years ago) from Russia. 833 grams, 27cm (10 1/2"). Ursus spelaeus was a species of bear which lived in Europe during the Pleistocene and became extinct at the beginning of the Last Glacial Maximum about 27,500 years ago. This is cast of the original from a private collection. Very fine condition.
Lot 2548
350-100 million years BP. A group of ten British fossil ammonites of mixed species, all accompanied by catalogue cards, six of which bear Natural History Museum identification labels. 2.71 kg, 55-130mm (3 - 5"). Ex Colin White collection, UK; collected from various sites in the UK in the 1960s and 1970s; thence by descent. [10, No Reserve] Fine condition.
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