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Click here to subscribe4th century BC. A group of two bronze figures, one standing with hands placed beside the ears and fingers spread, the other with arms bent and fingers placed flat on the abdomen; each mounted on a custom-made stand. 82 grams total, 62-66mm including stand (2 1/2"). Previously in the collection of a respected gentleman, his collection assembled 1965-2018. [2] Fine condition.
12th-13th century AD. A bronze figure of a crouching lion on its haunches with forelegs held straight, tail curled to the middle of the back; rectangular base with gusseted rim and stud beneath; mounted on a custom-made display stand. Recorded with the Portable Antiquities Scheme under reference HAMP-080143. 228 grams, 85mm including stand (3 3/8"). Found Greywell, South East Hampshire, UK; accompanied by a copy of the Portable Antiquities Scheme report number HAMP-080143. Very fine condition. Rare.
Middle Bronze Age, mid 3rd-mid 2nd millennium BC. A ceramic jar comprising a slightly flared body, rounded rim, four pierced lugs below the rim, four holes close to the lower edge, incised band to the centre of the sidewall with bird motifs, convex bottom; possibly a ritual vessel. 328 grams, 10cm (4"). From an important collection of ancient art formed by a deceased gentleman from 1960-1990; latterly dispersed to family members after his death and held in London and Switzerland. [No Reserve] Fine condition.
1st-2nd century AD. A rectangular bronze stamp with raised legend in reverse 'FELIC'; integral loop on reverse with expending hoop and flat ellipsoidal face. For similar stamps, see Dressel, H., ed., Corpus Inscriptionum Latinarum XV: Instrumentum Domesticum, (Berolini, 1891, 1899); Buoncuore, M., 'Signacula nel Museo Profano della Biblioteca Apostolica Vaticana,' in Epigraphica 46, 1984, 158-67; and Manacorda, D., 'Appunti sulla bollatura in età romana,' in The Inscribed Economy, ed. Harris, W. V., (Ann Arbor, 1993) 37-54. 92 grams, 63mm (2 1/2"). From a private German collection, pre 2000. During the Roman era, bakeries were required to stamp their bread with an individual seal in order to trace the source of the loaves and to prevent fraud or theft of imperial supplies. Fine condition.
3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of a Danubian cult: on three plaques the god Sol and the goddess Luna are depicted in profile on the right and the left side of the upper part; on one plaque the sun at the top section driving the sun-chariot with four-horse (quadriga); at the centre of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on two plaques both the riders advancing, holding the draco standard of the Roman legions; a soldier armed like a third century legionary is following the left cavalryman; two plaques with a cockerel, the sacred animal of the sun, foliage and animal symbols representing the divine power and the offerings to the gods on the fields, with scene of banquets; the eagle of Zeus at the top of three plaques; architectural elements on the background of all plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 367 grams total, 79-94mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); all acquired from A. G. & S. Gillis, Barnsley, UK, in 2001; accompanied by a copy of the original invoice. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.
Late 3rd-early 2nd millennium BC. A group of three carved limestone columnar idols each with waisted body, transverse slot to each flat face. Cf. Pottier, M. H., Matériel funéraire de la Bactriane méridonale de L' Age du Bronze, Mémoire, Editions Recherche sur les Civilisations, 36, p.16, pl.V, nos.34-5, for two virtually identical lingams called 'masses d'arme', and p.43, pl.XXXV, nos.292-3, for similar yoni; also, Schmidt, E. F., Tepe Hissar Excavations, 1931, The Museum Journal, XXIII, no.4, 1933, The University of Pennsylvania, Philadelphia, pl.CXXXVI. 32.8 kg total, 29-34.5cm (11 1/2 - 13 1/2"). From the private collection of a London gentleman; acquired on the UK art market since 2000. [3] Fine condition.
10th-11th century AD. A double-edged sword of Petersen Type X, the blade with an inlaid bronze crosier to one side, the lower guard and tea-cosy pommel with inlaid annulets. See Petersen, J., De Norske Vikingsverd, Oslo, 1919; Oakeshott, E., Records of the Medieval Sword, Woodbridge, 1991; Roesdahl, E., and Wilson D.M., From Viking to Crusader: The Scandinavians and Europe 800 to 1200 (22nd Council of Europe Exhibition), Copenhagen,1992; Peirce, I., Swords of the Viking Age, Suffolk, 2002. 1.4 kg, 95.5cm (37 1/2"). From a private family collection; previously acquired from a collection formed before 1990; thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10204-167292. The sword was the predominant weapon in west and southern Scandinavia, with the spear apparently being more common in the east. The presence of a crosier on this sword suggests that the owner of the weapon was a baptised Christian Viking warrior, or maybe a French or Norman knight. Fine condition.
2nd-3rd century AD. A bronze chariot fitting representing the bust of a Dionysian satyr or Dionysus himself with young face, long hair arranged in regular locks around the face, wearing a panther skin arranged like an exomis tunic leaving the left shoulder uncovered, positioned on a squared pedestal with platform for the application to the chariot's sides or back; loop on the hollow back for the fastening to the wooden structure of the chariot. See Ratkovi?, D., 'Wagon and Harness Bronzes from the Roman Collection of the National Museum in Belgrade' in Thiasos, Festschrift fur Erwin Pochmarski zum 65. Geburtstag, Wien, 2008, pp.793-815, s. pl.2,2, for similar item. 616 grams total, 16cm including stand (6 1/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. This type of mount was probably used as bridle holders and placed near the driver’s seat, on the wagon platform or as a central decoration on the back of the wagon. The reconstruction of the wagon from the Vardar Valley has a bust of Athena placed on the upper horizontal bar of the roof structure as a decorative element. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.
6th-2nd century BC. A matched pair of gilt-bronze rectangular plaques each with low-relief scene of two beasts in combat within a ropework double border, three attachment loops to the reverse. 199 grams total, 97-98mm (4"). Previously in the collection of a respected gentleman, assembled 1965-2018. [2] Fine condition.
5th century BC. A bronze protome of a satyr's head with pointed chin and protruding tongue; mounted on a custom-made stand. 116 grams total, 73mm including stand (3"). From the private collection of Edward Lucie-Smith, an English writer, poet, art critic, curator and broadcaster; received by gift in the early 1990s from George Ortiz, a collector who assembled what is considered to be one of the 'finest collections of antiquities in private hands'. [No Reserve] Fine condition.
6th-7th century AD. A bronze warrior figurine, an armed rider sitting astride his horse on a small rectangular base; the male warrior with centre-parted bobbed hair, large pellet eyes and moustache, pointed chin, arms held close to the sides with right hand gripping the reins and left hand and forearm covered by the circular shield with central boss, the legs with ankle-length trousers and pointed shoes to the feet, a scabbarded sword to the left hip with hilt and lobed pommel; the scabbard, reins and bridle depicted in three parallel bands. The depiction of the mounted warrior is similar to on one of the decorative motifs on the Sutton Hoo helmet (Bruce-Mitford 1978, The Sutton Hoo Ship Burial, Vol.2, p.149, fig.110d), where the warrior rides stirrupless and carries a round shield and sword. Published on the Portable Antiquities Scheme with report number NMS-40A7A7. 28.04 grams, 41.59mm (1 3/4"). Property of a Norfolk gentleman; found by his son whilst searching with a metal detector near Bradwell, Great Yarmouth, Norfolk, UK, on Monday 13 July 2015; accompanied by a copy of the Portable Antiquities Scheme report number NMS-40A7A7, and a detailed report by Anglo-Saxon specialist Stephen Pollington; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10216-166087. Stephen Pollington writes: 'The purpose of the piece must remain the object of speculation but one context suggests itself immediately. Many high-status male burials of the period (e.g. Sutton Hoo, Taplow, Prittlewell) include the remains of a board on which a table-top game (similar to chess) was played, and other burials likewise include gaming counters among the grave-goods. Later examples use miniature carved figures instead of counters - such as the famous 12th century set of character figures carved in ivory, discovered on the Isle of Lewis in Scotland. It seems possible that this figure was intended for a similar function... The figure is of great academic interest as a rare example of a 6th-7th century human form modelled in the round, and of a warrior horseman with his standard form of equipment (but lacking his helmet and spears).' Fine condition, minor damage to left shoulder. An excessively rare museum-quality object. [A video of this lot is available to view on Timeline Auctions website.]
Middle Bronze Age, 1400-1150 BC. A substantial bronze palstave axehead from the Manston hoard pit deposit, being one of the best examples in the hoard; triangular flanges rise from the butt to the stop bar; a hollow to both faces below the septum; narrow body expanding to a wide triangular blade with slight flare at the tips. See Evans, J., The Ancient Bronze Implements, Weapons and Ornaments of Great Britain and Ireland, London, 1881, pp.76-84 and figs.56-68, for similar types. See Portable Antiquities Scheme, reference PAS KENT-495597, for this find. 527 grams, 18cm (7"). Found near Manston, Kent, UK, 2016; accompanied by copies of the British Museum PAS report number KENT-495597, and Treasure Act documentation under Treasure Reference 2016 T618. A rare opportunity to acquire a scarce type of British Bronze Age axe from a recorded treasure hoard. Fine condition.
13th-14th century AD. An onyx equal-arm cross with silver sleeve to each arm and glass bead between, marked to the obverse with Christogram and legend; articulating suspender with nimbate bust; the Greek inscription reads on the horizontal arms IC (Jesus) and ?? (Christos), and on the vertical arms ?? (possibly again the name of God) and MA??AC (for the Virgin Mary"). See Pitarakis, B., Les croix-reliquaires pectorales Byzantines en bronze, Paris, 2006. 51 grams, 68mm (2 3/4"). From the family collection of a UK gentleman, by descent in the early 1970s; previously acquired before 1960. Pectoral reliquary cross of type VII according to the classification of Pitarakis. It has a good parallel with a bronze cross with niello from Saint Catherine Monastery (Pitarakis, 2006, p.114, fig.75"). [No Reserve] Fine condition.
3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on one plaque the god Sol and the goddess Luna are depicted on the right and the left side of the upper part, on another one only the facing solar bust at the centre of the upper section; at the centre of three plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on three plaques cavalrymen, advancing, holding the draco standard of the Roman legions; on one plaque Helen is alone on the left side of the section, welcoming one of her brothers who advances with a vexillum on his shoulders; one plaque with a cockerel, the sacred animal of the sun, vegetation and animal symbols representing the offerings to the gods on the field; the eagle of Zeus at the top of three plaques; architectural elements on the background of three plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 433 grams total, 79-94mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); two acquired from A. G. & S. Gillis, Barnsley, UK, in 2002; and two from John Cummings Ltd, Grantham, UK; accompanied by the original invoices for the four plaques. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.
6th-4th century BC. A lapis lazuli scaraboid, the underside carved with a facing figure of Bes with feathered headdress, standing between serpents; pierced with remains of bronze suspension ring. 4.2 grams, 19mm (3/4"). From a private Mayfair, London, UK, collection, in the 1970s. Fine condition.
Liao Dynasty, 907-1125 AD. A solid sheet gold death mask with textured eyebrows, holes over the eyes, modelled facial features. See discussion in Shimada, M., A Death-Mask of the Liao Period, in Artibus Asiae Vol. 13, No. 4, 1950. 151 grams, 18.5cm (7 1/4"). Property of a Lincolnshire gentleman; acquired Campbell's Auction sale, 2016, lot 506, with copy of sale pages; reputedly from the estate of a deceased jeweller; accompanied by an invoice from The Goldsmiths' Company dated 22 January 2020 for testing and hallmarking at 22 carat gold; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10178-163827. Sheet-metal death masks were a particular custom of the Chieta-tan tribe among the northern peoples of China in the Liao Period (11th-121th century AD), reported and commented upon by one by Wen-wei-chien in a document called Lu-ting-tsa-chi. The masks were made by hammering sheet metal over a wooden former, and were attached to the funerary display using bronze wire. Fine condition. [A video of this lot is available to view on Timeline Auctions website.]
3rd millennium BC. A carved marble or alabaster idol with a discoid, lentoid-section body, short neck and facetted 'triangular' terminal, or 'head', with stylised eyes and eyebrows expressed as dot-in-ring motif below shallow crescents; double ornamental collar at the neck composed of two rows of vertical lines either side of a plain band; three sets of hatched lines around the body representing arms, groin and leg regions; a single dot-in-ring at the base of the neck on the reverse; mounted on a custom-made stand. Cf. The Metropolitan Museum of Art, Disc-shaped figure, Early Bronze Age III, accession no.1984.20, for a similar example. 207 grams total, 12cm including stand (4 3/4"). From a private collection, 1960s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10212-167768. Fine condition.
1st-2nd century AD. A small simpulum with a straight pan and flat bottom bearing strongly incised circles on the outside, on the back of the handle, which shows two side flares, a small sieve decorated with a line of points. Cf. Tassinari, S., La Vaisselle de Bronze, Romaine et Provinciale, au Mysée des Antiquités Nationales, XXIXe supplément de Gallia, Paris, 1975, item 38. 182 grams total, 13cm including stand (5"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. The simpulum or simpuvium was a small vessel or ladle with a long handle from the Roman era, used at sacrifices to make libations, and to taste the wines and other liquors which were poured on the head of the sacrificial victims. The simpulum was the sign of Roman priesthood, and one of the insignia of the College of Pontiffs. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Very fine condition.
Late Period, 664-332 BC. An old diorama formed with two bronze figures, Osiris wearing the tall plumed Atef crown with uraeus, standing with arms crossed holding sceptres; Isis seated, suckling the infant Horus on her lap; mounted on a tiered modern wooden stand with faux-hieroglyphs, marked to the reverse 'Bronze cult figures of Osiris, Isis and Horus, Saite Period, circa 700-550 B.C.' and to the underside 'The Osiris was found beside the sacred lake at the temple at Karnak, Dec 1916'. 114 grams total, 10.5cm including stand (4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.
8th-7th century BC. A bronze rectangular belt plaque with one rolled edge, fixing rivet to each corner, loop and suspension ring to the rolled rim, repoussé grid with eight profile figures of a warrior standing wearing a conical helmet and ankle-length robe with a long fringed edges, shield to the body, sword scabbard visible behind the knee, sling(?) held in one hand and the other hand raised with fingers extended; mounted on a custom-made stand. See ?????, C. A., ?????????? VI-V ??. ?? ?. ?. ? ????? ?????????, - ??, 1965; Born, H., Seidl U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann IV, Mainz, 1995; Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003 in Russian, esp. pl. LIX fig.1-4. 411 grams total, 16cm including stand (6 1/4"). From an important Mayfair collection formed before 1990. This piece of armour with its magnificent decoration is outstanding evidence of the high quality of Urartian punching and honing techniques. Caucasian bronze belts are usually richly ornamented, often by punching or embossing, and the degree of decoration increases with the width of the belt. This directly indicates that the increased decoration and ideological saturation of the different subjects are directly related to improving the quality of the warriors' profane functions, and altogether increases its reliability and protective functions. It served as armour for the warrior and was used for carrying daggers, knives and a grindstone. The ends of the belt were provided with one or two ring holes for fastening around the waist. Very fine condition.
Late 2nd century AD. A bronze situla with flat bottom, the convex basin at the base becoming cylindrical, slightly flared at the mouth; the vessel is complete with the handle (ansa), ornamented with a decorative pattern of alternated triangles inscribed in a band all around the upper cylindrical part. Cf. Tassinari, S., La Vaisselle de Bronze, Romaine et Provinciale, au Mysée des Antiquités Nationales, XXIXe supplément de Gallia, Paris, 1975, items 117, 123-124; Boucher, S. & Tassinari, S., Musée de la Civilisation Gallo-Romaine à Lyon: Bronzes Antiques. Tome 1 Inscriptions, Statuaire, Vaisselle, Paris, 1976, figs.148-150. 113 grams,10cm (4"). From the private collection of Antony John Scammell (1937-2019); acquired from Artemission, London, UK, in 2011; accompanied by the original certificate of authenticity. Situla (plural situlae), from the Latin word for bucket or pail, is the term in archaeology and art history for a variety of elaborate bucket-shaped vessels from the Iron Age to the Middle Ages, usually with a handle at the top. All types may be highly decorated, most characteristically with reliefs in bands or friezes running round the vessel. Roman styles favoured a simple shape curving from the base, becoming vertical at the top, with a wide mouth and no shoulder, but sometimes a projecting rim. These had a variety of uses, including for washing and bathing. Any decoration was often concentrated on the upper part of the sides. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Very fine condition.
Late 9th century BC-early 7th century BC. A broad hammered bronze helmet of conical shape, decorated to both sides of the bowl with chased low relief representing fighting divinities or warriors; two bronze rings for fastening the leather chin-strap to both sides; rows of pierced holes to the edges for fastening the leather lining; mounted on a custom-made display stand. See Barnett, R.D. and Falkner, M., The Sculptures of Assur-nasir-apli II (883-859 B.C.), Tiglath-pileser III (745-727 B.C.), Esarhaddon (681-669 B.C.) from the Central and South-West Palaces at Nimrud, London, 1962; Born H. and Seidl U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann IV, Mainz, 1995; Christie’s, The art of the warfare, the Axel Guttmann collection, Part I, Wednesday 6 November 2002, London, 2001; Dezs?, T., Near Eastern Helmets of the Iron Age, (British Archaeological Reports, S992), Oxford, 2001; Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian; Dezs?, T., The Assyrian Army, I. The structure of the Neo-Assyrian army as reconstructed from the Assyrian Palace Reliefs and Cuneiform Sources, 2. Cavalry and Chariotry, Budapest, 2012; similar helmets in Gorelik, 2003, pl. LXI, nn.3,95. 4.4 kg, 58.5cm including stand; helmet: 1.9 kg, 25cm (23"). From a private collection formed in the Netherlands; previously in a European collection formed prior to 1980; accompanied by an archaeological report by military specialist Dr Raffaele D'Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10198-165156. This rare and wonderful helmet is an unusual example of conical bowl with multiple rim-holes for the attachment of a lining fabric. Pointed conical helmets like this were worn both by cavalry (Barnett-Falkner, 1962, pls. LXIV-LXV; Dezs?, 2012, pp.14,19) and infantry of Urartian and Assyrian armies. Judging from the cavalry depictions of Urartian bronze helmets in Assyrian art, Urartian soldiers were equipped with an Assyrian-type pointed helmet, a rounded bronze shield, and two spears. Further incised representations on Urartian bronze helmets show cavalrymen wearing pointed helmets, equipped with lances, their upper body covered by a rounded bronze shield (Dezs?, 2001, cat.n.91-99"). Fine condition.
6th-2nd century BC. A substantial bronze mount formed as a stylised galloping stag with long antlers; legs folded beneath the body, large circular eye, decorative lines on the legs, hooves and antlers; two lugs to the reverse; mounted on a custom-made stand. 102 grams total, 10.1cm (4"). Acquired from F.E. Nejad, Zurich, Switzerland, 6th November 1988. Fine condition.
1st century BC-2nd century AD. A bronze figure of Venus (Greek Aphrodite) standing nude with right leg bent; the hair gathered in a chignon with strands extending to the shoulders and back, fine facial detailing with slightly protrusive annular eyes and small pert mouth; ribbed bracelet to the left upper arm; hand extended holding a pomegranate between thumb and forefingers; mounted on a custom-made display stand. Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, items 75-76. 803 grams, 21cm including stand (8 1/4"). From an important central London collection formed since the mid 1960s; thence by descent; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10138-164565. Very fine condition, right arm absent. [A video of this lot is available to view on Timeline Auctions website.]
13th-7th century BC. A bronze pin formed with a horned animal-head finial and round-section tapering collared shaft; another quadruped stands between two collars; incised geometric designs towards the top of the shaft. 198 grams, 26cm (10 1/4"). Property of a London gentleman; formerly with the Mahboubian Gallery, London, UK; acquired before 1972. Fine condition.
3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on two plaques the god Sol and the goddess Luna are depicted in profile on the right and the left side of the upper part of the section; on the two other plaques the sun at the top section driving the sun-chariot with four-horse (quadriga); at the centre of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on one plaque both the riders advancing, holding the draco standard of the Roman legions; a soldier armed like a third century legionary is following the left cavalryman; one plaque with a cockerel, the sacred animal of the sun, foliage and animal symbols representing the divine power and the offerings to the gods on the fields, with scene of banquets; the eagle of Zeus at the top of two plaques; architectural elements on the background of all plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 557 grams total, 77-97mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); one acquired from A. G. & S. Gillis, Barnsley, UK, in 2000; and one acquired from Zeus Antiquities, Beverley Hills, USA, in 2005; both accompanied by original invoices and certificate of authenticity from Zeus Antiquities. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.
1st century BC-1st century AD. A bronze upper staff terminal in the form of a closed crook with socket for attachment, the slender curved tip extending from the socket and ending in a stylised bovine or horse head with incised eyes, detailing to edges and the nose ending with small loop, possibly to receive a tassel; the socket with two cross pins to secure to a wooden shaft. Cf. Portable Antiquities Scheme, reference NMS-178AE0, for a similar, more ornately detailed example, also from Norfolk. Portable Antiquities Scheme, reference NMS-003D82 (this item"). 45.1 grams, 44mm (1 3/4"). Found while searching with a metal detector in Ashwellthorpe parish, near Norwich, Norfolk, UK, Tuesday 17 October 2017; uncovered in undisturbed soil at a depth of 18 inches; accompanied by a copy of the Portable Antiquities Scheme Report number NMS-003D82, including associated museum drawings. Very fine condition. Extremely rare. [A video of this lot is available to view on Timeline Auctions website.]
1st-5th century AD. A glazed wooden display case with mounted bronze military fittings comprising: two panels of squama scale armour; two buckles with openwork plates and a fitting of the related belt; a large belt buckle with scrolls; an amphora belt strap end; five propeller belt stiffeners; a lorica segmentata lobate hinge; a belt buckle with embossed emperors; a double buckle fastener; reputedly from Germanic provinces. See Bishop, M. C., Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 2006; Radman Livaja, I., Militaria Sisciensia, Finds of the Roman military equipment in Sisak in the holdings of the archaeological Museum in Zagreb, Zagreb, 2004; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; Appels A., Laycock S., Roman buckles and military fittings, Witham, 2007; D'Amato, R., Arms and Armour of the Imperial Roman Soldier, London, 2009. 955 grams total, 30 x 21cm (11 3/4 x 8 1/4"). From the private collection of Antony John Scammell (1937-2019); one item acquired from Saxby's Coins, Tamworth, UK, in 2015; and for the armour from H. Vincent McCarthy, Bournemouth, UK, in 2001; accompanied by copies of two original invoices. A superb collection of military kit ranging through all periods of the classical and late Roman military equipment: the lobate hinge of a Corbridge type segmentata introduces the defensive protections of the 1st century AD, while the later protection is represented by the 2nd-3rd century semi-rigid scale armour wide fragments, constructed from scales wired to each of their four neighbours, above and below as well to either side. The pieces of intricate belt openwork mounts well exemplify the Antonine and early Severian belt styles, while the belt stiffeners and the beautiful massive buckle and amphora shaped pendant give us a wonderful idea of late Roman military belts, as well as the decorative double fastener and the magnificent buckle with the image of the West and East Emperors. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [15] Very fine condition.
2nd millennium BC. A silver mount of an eagle with hollow-formed head and body, applied foot with claws remaining, recessed panels to the wings and tail set with haematite, jasper and other tesserae. The present bird follows the format of a similar creature with spread wings on the crest of a bronze helmet from southwest Iran, now in the Metropolitan Museum of Art, New York, accession number 63.74; see also Rickards, T., Black J., and Green, A., Gods, demons, and symbols of ancient Mesopotamia, an illustrated dictionary, London, 1992; Caubet A., and Bernus-Taylor M.,The Louvre, Near Eastern Antiquities, London, 1991; Mahboubian, H., Elam, Art and civilization of ancient Iran, 3000-2000 BC, Salisbury, 2004. 16.7 grams, 86mm (3 1/4"). Property of a London collector; from her family's private collection; formerly with a London gallery; acquired in the 1990s; accompanied by an academic report by Dr. Raffaele D’Amato, and an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.164084/7/10/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10159-164084. The Elamite objects manufactured in silver, bronze or copper, made during the 3rd and 2nd millennium BC, are among the best of their kind. The bird on the Metropolitan Museum of Art helmet is shown with its head raised, the back and wings with repoussé sheet metal feather detailing. A number of different birds occur in Mesopotamian art as symbols of deities. One type of a long-necked species, first appeared during the Uruk Period, as a type of standard, with the bird shown on top of a small rod, mounted on the back of a snake-dragon. The symbol of a bird on a high perch, probably represents a bird-standard, which was common on the Kassite kudurrus, and can be identified from the inscriptions as a symbol of the obscure dual gods Suqamuna (and) Sumalia (Kassite gods), whose images were brought from Babylonia to Susa in the booty war of King Shutruk Nahhunte. Fine condition. [A video of this lot is available to view on Timeline Auctions website.]
6th-4th century BC. A bronze shallow carinated bowl with broad flared rim; repoussé tear-shaped bosses within arches arranged around a central shallow omphalos, stylised flowers between; Luschey, 1929, type 1.c.8. See Moorey, R.P.S., et al., Ancient Bronzes Ceramics and Seals, California, 1981, item 627, for a very similar example and discussion; cf. Curtiss, J. & Tallis, N., Forgotten Empire. The World of Ancient Persia, London, 2005, for comparable items and discussion. 154 grams, 11.6cm (4 3/4"). Property of a London gentleman; formerly with the Mahboubian Gallery, London, UK; acquired before 1972. Fine condition.
12th-13th century AD. A gilt bronze Corpus Christi wearing crown with central cross finial, head slumped to the left, arms outstretched, tunic around waist, legs and feet together; details to feet, hands, face and clothing; piercing to each hand and the feel for attachment; mounted on a custom-made stand. Cf. Hook and MacGregor, Medieval England, The Ashmolean Museum, Oxford, 1997, p.42, for a later but comparable example of a Limoges crucifix. 213 grams total, 22cm including stand (8 3/4"). Property of a European gentleman living in London; from his grandfather's collection by descent in 1989; formerly in the family collection since at least the 1970s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10232-167000. Very fine condition. [A video of this lot is available to view on Timeline Auctions website.]
26th Dynasty, 664-525 BC. A bronze figure of striding Horus, right arm raised with hand clenched and hollow to accept a spear, left arm bent with fist clenched; the god with hawk head, tripartite wig and Pschent (double crown) of Upper and Lower Egypt with frontal uraeus; rectangular base with hieroglyphic inscription: 'May Horus, Lord of Heaven, Grant Life, Prosperity, Health, a long lifetime [and a good] old age', with the mother's name '[Nes]gereh'; mounted on a custom-made stand. Cf. similar upper body pose adopted by Horus of Pe figure in the British Museum, accession number 1880,0210.4, published in Andrews, C., Egyptian Treasures from the British Museum, London, 2000, p.70-71. 667 grams total, 22cm including stand (8 1/2"). Ex Soumekh collection, during the late 1990s and early 2000s; formerly in the private collection of Mr Christopher Laurent, Brussels, Belgium; acquired from a local dealer in 1963; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10120-167437. The posture represents Horus slaying the evil god Seth, represented as a hippopotamus and particularly seen in reliefs carved on the wall in the outer ambulatory in his principle temple of Ptolemaic date at Edfu. Very fine condition. [A video of this lot is available to view on Timeline Auctions website.]
Circa 79 AD. A bronze rectangular stamp bearing a legend in two lines of raised and reversed text 'PARTHINOPEI / VILLI [.] PRISCI' relating to a certain Priscus; reverse loop absent. See Loreti, E. M., 'Signacula bronzei dell'Antiquarium comunale di Roma' in Epigrafia della produzione e della distribuzione Actes de la VIIe Rencontre franco-italienne sur l'épigraphie du monde romain (Rome, 5-6 juin 1992), Rome: École Française de Rome, 1994, pp.645-653 (Publications de l'École française de Rome, 193"). 33.5 grams, 59mm (2 1/4"). From a private German collection, pre 2000. Very fine condition.
12th-8th century BC. A triple-banded gold 'ring money' or adornment, a composite collar-type ring comprising three conjoined bands. Cf. Taylor, J.T., Bronze Age Goldwork of the British Isles, Cambridge, 1980, pl.30h (which was found at Granta Fen, Ely, Cambs) and 34d and 34e. 3.43 grams, 14mm (1/2"). Property of an Essex gentleman; acquired from John Moor, York, UK, in 2010; previous in an old continental collection formed before 1980. Chris Rudd says: 'Though primarily made as a piece of jewellery – almost certainly a tress-ring in this instance – such rings probably had a secondary purpose too, as a convenient method of portable wealth storage. In that sense one might justifiably regard these items as a form of primitive pre-coinage money, although today’s archaeologists are keen that we refer to them as ‘penannular rings’ rather than ‘ring money.' Very fine condition.
8th century BC. A bronze helmet of conical form made in one piece, a raised groove to the front, three arched ribs with round terminals above the brim resembling eyebrows, chased royal lion motif above, the central rib from helmet's apex with a stylised animal; a row of pierced holes for the fastening of a leather lining to the edges; mounted on a custom-made stand. See Borchardt, J., Homerische Helme: Helmenformen der Ág?is in ihren Beziehungen zu orientalischen und europäischen Helmen in der Bronze-und frühen Eisenzeit, Mainz, 1972; Born H., Seidl U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann IV, Mainz, 1995; Christie’s,The art of the warfare, the Axel Guttmann collection, Part I, Wednesday 6 November 2002, London; Christie’s,The art of the warfare, the Axel Guttmann collection, Part II, Wednesday 28 April 2004, London, 2004; Dezs?, T., Near Eastern Helmets of the Iron Age, (British Archaeological Reports, S992), Oxford, 2001. 2.1 kg total, 48cm including stand (19"). Property of a London gentleman; believed to be ex Guttmann collection; accompanied by an archaeological report by military specialist Dr. Raffaele D'Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10197-167081. In literature, these helmet are identified with the general word for helmet ( Gurpisu), and especially with the word Karbatullu. This specimen is a rare example of a helmet of this typology with multiple rim-holes for the attachment of a lining fabric, although this would have been normal for most Urartian helmets. The lion figure, also visible on Assyrian or Urartian helmet fragments preserved in the British Museum, is usually connected with the goddess Ishtar, supporter of Assyrian royal power. Fine condition.
Dated circa 2031 BC. A rectangular clay tablet inscribed with 221 lines of Sumerian cuneiform for a monthly list of activities involving copper; accompanied by a copy of a signed scholarly note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Clay Tablet 170 x 171 mm, inscribed with a total of 221 lines of Sumerian Cuneiform in 10 columns five on each side. The upper right-hand comer is missing, and the lower right-hand portion is composed of two pieces rejoined with some loss of surface at the joints. However, the greater part of the tablet remains, and is well preserved, being written in a clear scribal hand. This is an administrative document from the town of Umma, in the far south of Sumer, being dated to the 7th year of Shu - Sin, fourth king of the Third Dynasty of Ur, e. 2031 B.C. It is a monthly list of activities involving copper, being dated to the 20 month of the year (April/ May by our calendar"). At this time Sumer was bureaucratically run by the central government, and the government dominated many aspects of the economy. Thus metalworking, which depended on imports of ore, was centrally run. The craftsmen were provided with the materials, and they produced the tools and weapons needed for the workers army. But everything had to be recorded in writing, and this document lists the large number of individual small tablets written during this month recording so many of this or that tool of copper, and the name of the responsible person written on the tablet. It is not stated whether these documents record the receipt of finished tools from the craftsmen who made them, or the issue of tools to craftsmen who needed them for daily use. In the ancient world this was too well known to be recorded. Obviously both kinds of documents must have existed, so until there is much more known it is best to leave this matter open. The tablet attests to the vast amount of organised activity in Sumer at this time. TRANSLATION 1 edim. 3 minas; 3 gravers, 2 minas; 3 axes, 2 minas; 3 sickles, 12 minas; document of Lugale - bansha 22 hows: 65 sickles, 12 minas; 60 axes: document of Abba - gina 120 hoes: 20 sickles: document of Gir 8 hoes: document of Lugal - nisage [...] hoes: 10 sickles: document of Ur-Urra [...] axes, [...] sickles; 3 shekels of silver: document of Lugalitida, forman 12 swickles: document of Agu [..] hoes: [...] sickles: document of Lugal - hegal 12 sickles, 80 silas of ritual flour, document of Ur-Nintu 60 hoes; 10 sickles: document of Irmu, animal - flattener 13 hoes, 65 sickles: document of Sangani 12 sickles. 12 minas: document of Lugal - igihush 10 sickles document of A'akalla foreman 17 sickles, 12 minas: document of Shara - amu, foreman 38 sickles: document of Bashaga 1 sheep for the butler, 1 axe, 1 1/2 minas; 120 sickles, 12 minas; document of Ikalla 1 axe, 2 minas; 3 hoes, 2/3 of a mina: document of Ur- Mes, brewer 33 sickles: document of Lu-balasig, potter 4 sickles: document of Dagu 2 sickles: document of Ur- Sin 60 sickles document of Ur- dingiregal 1 talent of copper: document of Ur - Numushda 1/3 of a mina of [...]: document of [...] 5[.....]: document of Lu- [.....], chamberlain 6 sickles: document of Ur - Geshtinanaka, chamberlain 60 hoes; 180 sickles document of Ur-Amma, ..... 5 sickles: document of Ur - Amma, son of Nadi 3 sickles: document of Lugal - kuzu, his assistant 60 hoes; 60 sickles: document of Ur-gigir, butler 1 axe, 11/2 minas: document of Ur-Amma, builder 60 sickles: document of Ur - Ba[ba] 3 [...] document of A [...], animal-fattener 2 sickles: document of Lugal - azida, his brother (gap of about 6 lines) 1 [...]: document of U[r - ...], son of [...] 29 1/3 minas of [copper]; 1/3 mina of [tin/lead], 10 sickles: document of Ur- [.....] singer 21 [...]: document of [...] 9 [...]; document of Shara - [....] 4 [...]: document of Lugal - azida, assistant 2 sickles: document of Ur- Shara, son of Shehskalla [...] sickles; [...] + 20 hoes: document of Bidugga 1 axe; 2 hoes: document of Nabsha, builder (gap of about 15 lines) [...]; 2 axes: document of Lushaga 2 hoes; 6 sickles; 1/2 shekel of silver: document of Shara - amu, officer 1 hoes; 2 sickels; 1/2 shekel of silver: document of Ur- Dingiregal 1 axe [85 sickles]; 2 gur of [barley] flour; 4 gur 180 sila of [....]; 1[...]; 22 minas of [copper]: document of Sheshkalla, son of [....] [....] minas of copper: document of Lugal - E'igizumahe, son of [...] 1 axe: 1 gur of barley flour: document of Lu - Shara, son [...] 1 sickle; 1/2 shekel of silver: document of Magurre 10 [...] [...] (gap of about 15 lines) [...]: document of Ur - Emash, ..... 10 sickles; 2 shekels of silver: document of Ur - Alama 11 (?) [...] (gap of about 2 lines) [...]1 axe: document of Sharakam 60 sickles: document of Ku - Shara 10 sickles; [...] hoes; [...] axes: 3 shekels of silver: document of Sheshklala, son of [...] -... 10 [.....]; document of [...] 1[...]: document of B[idugga] 3 [.....]; document of L[u - ...] 1 [......]; document of [....] (3 lines missing) 1 graver, 1/2 a mina: document of Sheshkalla, barber 3 sickles: document of Adu, son of L[u-dugg]a 8 [...]; 2 gur of barley: document of Ur- [...] 3 sheep; 2 goats; 1 talent of copper, 1 axe; 2 sickles: document of Lugal - gude, overseer of cattle 9 sickles, document of Lu - sig.... 2 shekels of silver; 10 shekels of tin/lead; 6 shekels of copper: document of Bazige, carpenter 2 gur of barley; 1 mina of bronze: 1 1/2 minas of copper: document of Asog. carpenter 18 shekels of bronze; 1/2 mina of copper: document of Lugal - mu'i mu'izu, carpenter 1 sickle document of Ur- [....] 1 sheep; 20 minas of ......:1 1/3 minas of copper, 120 sila of barley: document of Nabasa 18 goats: document of Kugani, his brother 4 sickles; 2 gur of barley flour; 1 sheep: document of Shakuge, gudu - priest 3 sickles: document of Ur - Shulpa'e, administrator 2 sickles: document of Ur- Asalluhe, foreman of the hired men 2 hoes; 1 sickle document of Ur - Ninmugga 1 mina of copper: document of Lugal - kuzu, son of Zanzani 1 hoe: document of Lugal - nilagare, brewer 1 sheep: document of Ur- Halmudu 2 sickles: document of Lugal - nilagare, .. 1 1/2 shekels of silver: document of the .....s of Lagash 1 gur, 220 sila of goats: document of Lu - zumu 15 minas of copper, document of Gilzan, smith 20 minas of copper: document of Sheshani, smith 1 goldsmith's ..... 8 minas; 10 minas of copper: document of Lugalemah, smith Continuing check Month: placing the bricks in the mould Year: after the magnificent stele was erected. First, the numerical system used allows the simple numerals such as 1, 2 etc to be either 1, 2 or 60, 120 and I in the lack of any summing up of figures of this type, there is often uncertainty, and our choice of 1 or 60 is always open to reconsideration. Secondly, the professions of the men named as on the documents suggest recipients of tools rather than makers of them in most cases, but not in the case of the smiths. These two points illustrate the amount of work and study needed to gain all the information contained in this text. It is a mine of information, but in need of deep research.' 1.3 kg, 17 x 17cm (6 3/4 x 6 3/4"). Ex central London gallery; acquired 2000 from a UK dealer; acquired by them from an Oxford academic, catalogue number c/1178; examined by the late Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s; and accompanied by an original typed and signed three page scholarly note and translation by the Professor; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10165-166487. Very fine condition, repaired.
2nd-1st millennium BC. A bronze figure of a standing Bactrian camel, the animal's second hump formed as a narrow tube with flat rim; detailing to head, face, mane, tail and elbows; hollow body; integral rectangular base; possibly a kohl pot or sceptre stand. 293 grams, 10.5cm (4"). From an important London W1, gallery; previously acquired 1980s. Fine condition.
6th-4th century BC. A sheet-silver phiale mesomphalos with broad everted rim, carinated body, two circumferential raised ribs to the outer face, applied central boss formed with domed omphalos encircled by stylised petals between a plain border; convex outer base. See Godard, F., The Art of Iran, London, 1965, for discussion. 243 grams, 15.9cm (6 1/4"). Property of a central London gentleman; acquired Christie's, London, 25 October 2007, lot 113; formerly in a private collection acquired 1960s; accompanied by the relevant Christie's catalogue pages. Phiale Mesamphalos (literally: bowl with central boss) were the most popular form of vessel and were produced in a number of materials, including clay, bronze, silver and gold. They are a distinctive type of Achaemenid tableware, made by hammering or raising sheet metal, with decoration added in repoussé. They were used in banquets held by the nobility and for pouring libations at religious festivals. Phiales of this kind were a common gift from the Achaemenid king to the nobility which helped cement alliances among the different ethnic groups of the Empire. The central boss to the underside allowed the user to secure their fingers and ensure a solid grip whilst drinking or pouring. Fine condition. [A video of this lot is available to view on Timeline Auctions website.]
5th-4th century BC. A bronze bowl with lotiform underside comprising radiating flanges to the body and base, broad flared rim; omphalos to the internal base. 145 grams, 12.2cm (4 3/4"). Property of a London gentleman; formerly with the Mahboubian Gallery, London, UK; acquired before 1972. Fine condition.
3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on one plaque the god Sol and the goddess Luna are depicted respectively on the left and the right side of the upper part, on another plaque the sun is facing represented driving the sun-chariot with four-horse (quadriga); at the centre or upper section of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider, followed in three cases by an armed Roman legionary; on one plaque the left cavalryman is advancing, holding the draco standard of the Roman legions; vegetation and animal symbols representing the offerings to the gods and scenes of sacrifice on the fields; the eagle of Zeus at the top of one plaque; architectural elements on the background of all plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 822 grams total, 9.1-12.3cm (3 1/2 - 5"). From the private collection of Antony John Scammell (1937-2019); one acquired from Dr. Bron Lipkin, Collector Antiquities, London, UK, in 2009; accompanied by the original invoice. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.
2nd millennium BC. A bronze figure standing upright on a rectangular base wearing a close-fitting helmet, tight wrap-over shirt with cap sleeves, raised waistband and kilt with fringed hem below; left arm straight with hole in the fist, right arm raised and slightly bent with fist clenched; mounted on a custom-made display stand. See Aruz, J., Art of the First Cities. The Third Millennium B.C. from the Mediterranean to the Indus, New York, 2003. 226 grams, 14cm including stand (5 1/2"). Property of a London collector; from her family's private collection; formerly with a London gallery; acquired in the 1990s. Very fine condition.
2nd millennium BC. A cast bronze tubular macehead with flared rims to both socket mouths, raised collars to the neck and shaft, and a drum-shaped section featuring a raised tessellating lonzengiform motif; mounted on a custom-made stand. 466 grams total, 17cm including stand (6 3/4"). From a private collection of arms and armour; previously with a London gallery. Very fine condition.
3rd-2nd millennium BC. A substantial polished alabaster pillar idol of waisted cylindrical form with shallow transverse slot to each flat face. Cf. Pottier, M. H., Matériel funéraire de la Bactriane méridonale de L' Age du Bronze, Mémoire, Editions Recherche sur les Civilisations, 36, p.16, pl.V, nos.34-5, for two similar lingams called 'masses d'arme', and p.43, pl.XXXV, nos.292-3, for similar yoni; also, Schmidt, E. F., Tepe Hissar Excavations, 1931; The Museum Journal, XXIII, no.4, 1933, The University of Pennsylvania, Philadelphia, pl.CXXXVI. 7.4 kg, 32cm (12 1/2"). Property of a London gentleman; formerly with the Mahboubian Gallery, London, UK; acquired before 1972. Fine condition.
5th-4th century BC. A bronze appliqué of Papposilenus in the form of a facing mask, two ram horns over his abundant hair, long pointed ears, well curated beard, eyes and mouth open for fastening; probably an item of furniture for bronze and wooden doors. See Hedreen, G., 'Myths of Ritual in Athenian Vase-Paintings of Silens', in: The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama, Cambridge University Press, 2007, p. 151; parallels with terracotta masks of Sylenus from Taranto, as displayed in Trieste, Museo Civico di Antichita' (1873-1910"). 72 grams total, 90mm including stand (3 1/2"). Previously in a private German collection, between 2015-2016; formerly in the collection of S. K., since 1986. ???????, Sil?nós, or Seileno (in ancient Greek: ????????, Seil?nós), is a character from Greek mythology and corresponds to the old rustic god of wine making and drunkenness prior to Dionysus, of which is the main retainer. Papposilenus is a representation of Silenus that emphasises his old age, particularly as a stock character in satyr play or comedy. Fair condition, repaired.
3rd century AD. A group of four lead votive trapezoidal, round and square plaques showing scenes of Danubian cult: on all the plaques the god Sol and the goddess Luna are depicted respectively on the right and the left side of the upper part, sometimes in profile sometimes facing; at the centre of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on three plaques the left cavalryman is advancing, holding the draco standard of the Roman legions; two plaques with a cockerel, the sacred animal of the sun, foliage and animal symbols representing the offerings to the gods; the eagle of Zeus at the top of three plaques; architectural elements on the background of all plaques. See Vasilev, V., 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler, F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 301 grams total, 71-86mm (2 3/4 - 3 1/2"). From the private collection of Antony John Scammell (1937-2019); two acquired from A. G. & S. Gillis, Barnsley, UK, in 2001; accompanied by a copy of the original invoice. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.
12th-14th century AD. A hemispherical bronze bowl with chamfered rim, outer face with a band of low-relief foliage between two bands of Kufic text, inner face with band of running hares between two bands of Kufic text and central interlace panel. 5.5 kg, 47cm (18 1/2"). Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection. Fine condition.
10th-11th century AD. A sheet bronze appliqué formed as a lacertine panel with four canines, probably wolves enmeshed, the three remaining profile heads and forelegs extending beyond the quatrefoil border, reserved on a pounced field; the eyes pierced for attachment. 3.25 grams, 49mm (2"). Ex central London gallery; acquired on the UK art market. Fine condition. Extremely rare.
12th-14th century AD and earlier. A medieval bronze octagonal cup-shaped seal or ring bezel set with an ancient Roman glass intaglio of a rabbit; attachment points for the hoop of a finger ring; accompanied by a museum-quality impression. 1.1 grams, 11mm (1/2"). From a private Mayfair, London, UK, collection, in the 1970s. [No Reserve] Fine condition.
2nd millennium BC. A model four-wheeled cart of sheet bronze with scooped profile, internal frame and floor, sheet bronze wheels, bronze Y-shaped pole and transverse yoke; two moulded bronze oxen with prominent horns, impressed facial details, tapering tail. Illustrated and described in: M.A. Littauer & J.H. Crouwel, Early Metal Models of Wagons from the Levant, vol.5 X, p.105, pl.XXXVI, 1973. 1.23 kg total, cart: 34cm long, 15cm high, bulls: 13.5-14.5cm long, 9cm high (cart: 13 1/2 long, 6 high, bulls: 5 1/4 - 5 3/4 long, 3 1/2 high"). Previously in a private London, UK, collection; acquired in 1971 by Safani Gallery; accompanied by a copy of Art Loss Register certificate number S00077065; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10154-167539. Fine condition, some parts of the chassis restored, the modern pieces produced in June 1971 by McIntyre of the British Museum. [A video of this lot is available to view on Timeline Auctions website.]
5th-4th century BC. A pair of full length bronze greaves with pronounced anatomical details for knees and ankles, embossed knee-cap with well-defined muscles to the calf; a shallow double border with holes along the perimeter for fastening the inner lining; mounted on a custom-made display stand. See Connolly, P., Greece and Rome at war, London, 1981; Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 2002; Spatafora, F., 'Vincitori e vinti: sulla deposizione di armi e armature nella Sicilia di età arcaica', in Guerra e pace in Sicilia e nel Mediterraneo antico (VIII-III sec a.C."). Arte, prassi e teoria della pace e della guerra, I, Pisa 2006, 215-226; Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004; D’Amato-Salimbeti, Bronze Age Greek Warrior, 1600-1100 BC, Oxford, 2011; see similar greaves from the Guttmann Collection, Christie's, auction, 6, November 2002, lots 80/4; other examples in the Axel Guttmann Collection: AG 008/R 2; AG 177/R 153; AG 268/R 57; AG 333c/R 82; AG 622/R 152; a further similar example in Cahn, D., Waffen und Zaumzeug, Basel, 1989, p. 62. 2.5 kg total, 47-48.5cm including stand (18 1/2 - 19"). Previously with an important London, Mayfair, gallery; formerly in a private German collection; acquired in the 1970s, thence by descent; accompanied by an archaeological report by military specialist Dr. Raffaele D’Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10196-167377. Greaves were used as protective equipment from as early as in the time of Homer (Iliad, X, 8, 613), with archaeological finds from earlier and contemporary Achaean warrior graves (D’Amato-Salimbeti, 2011, pp.36-38"). They continued to be used in Greece during the Geometric and Archaic periods, attested at least from the 7th century BC, where they became an important part of hoplite armour. The primary purpose was to protect the tibia from attack: a successful attack on the shin would result the leg being rendered useless, significantly hampering one’s ability to maneuver, a great danger for a man fighting in a phalanx. This type of greave was pulled open and clipped on to the leg, but they were often strapped to the leg in Italy, and all of them were lined with leather or fabric (Connolly, 1981, pp.59-60"). [2] Fine condition, some restoration. [A video of this lot is available to view on Timeline Auctions website.]
Ptolemaic Period, 332-30 BC. A group of two eye inlays from a mummy case, each formed as a white glass panel with raised black glass pupil fitted into a bronze frame with separate bronze eyebrow bar; mounted in a custom-made stand. See Andrews, C., Amulets of Ancient Egypt, London, 1994, p.69, for discussion. 176 grams total, 15cm including stand (6"). Acquired from Lennox Gallery Ltd, London, UK, in January 2001. Fine condition.
7th-5th century BC. An archaic bronze figure formed as a 'leaping' horse standing on a base pierced for attachment; the animal's ears are pricked forwards, its mane and tail cropped and mouth open, with prominent 'round' hips; wearing a decorative harness at the chest. Cf. National Sporting Library and Museum, Greek Statuette of a Horse, ca. 750-600 BCE, for an equine figure with comparable features. 70 grams (56mm (2 1/5)"). From a private London, UK, gallery; acquired in 2014; previously in a private German collection, since the 1980s. Very fine condition.
Warring States Period, 475-221 BC. A squat bronze ding vessel with three rounded legs, median ridge, two rectangular loop handles, domed lid with three knops. Cf. Song, L., Chinese Bronze Ware, Cambridge, 2011, p.33, for type. 1.7 kg, 20.5cm (8"). From the collection of an American lady living in London; acquired before 2000. Fine condition.
1st century BC-1st century AD. A hollow-formed bronze finial, square in plan with flange rim and iron attachment pin; the upper face with high-relief bust of a satyr (Pan?) with incised lentoid eyes, tousled hair, goats' ears and four short horns. 352 grams, 83mm (3 1/4"). From a private UK collection, acquired in 2010; formerly in a private Rosenheim, Germany collection, since the 1960s. Very fine condition.
6th-7th century AD. A bronze hanging lamp holder comprising a large openwork central disc fitted with six circular sockets for the stems of glass lamps, three integral loops to the inner rim from which hooks are suspended, large single suspension hook above; inscribed dedication to the inner rim in Greek '+ ??? ????? ???? ?? ??????? ????? ???????+', translating to: 'I, Elias, for the interior of Saint Romanus'; mounted on a custom-made display stand. See Bailey, D.M., A catalogue of the lamps in the British Museum, IV, Lamps of metal and stone, and lampstands, London, 1996; Wamser L. and Zahlhaas, G., Rom und Byzanz, Archaologischen Kostbarkeiten aus Bayern, München, 1999. 1.3 kg total, 42cm including stand (16 1/2"). Ex North London gentleman; formerly from an important Mayfair collection; accompanied by an archaeological report by Dr. Raffaele D’Amato. Fine condition.
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