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Lot 2308
G.B. mixed coinage - to include Victoria O.H. Crowns - 1893LVI, 1897LX. both AF - F (but with slight edge bruises), Gothic Florin - 1884. VG, a 1937 Proof Set presentation box for fifteen coins (N.B. coins therein are not matching dates or proof), a large quantity of Elizabeth II bronze Pennies - 1965 - 1967. Uncirculated condition (N.B. in excess of 2,200 pennies) (qty)
![An abstract bronze statue of a queen holding a child, raised on a wooden base, indistincly signed, U Juan'[?], 38cm high.](https://cdn.globalauctionplatform.com/9055b0b1-007f-40d1-b7ee-a76f00bf9be6/827238d9-3423-43d9-90a7-f580f7aa9f10/468x382.jpg)
Lot 131
Tim Cotterill / "Frogman", 'Little Tad' a small bronze frog sculpture, published 2002, engraved signature, date, and edition number 1406/2000, 4.5cm high, with certificate; together with a copy of 'Frogman, the Art of Tim Cotterill' published 2003, and a Frogman 2004 calendar, both signed with personal dedications (3)
Lot 132
Tim Cotterill / "Frogman", an early large bronze frog sculpture, published 1992 engraved signature, dated '92, and edition number 331/500, approx 33cm highThis is early model is similar to the model titled 'Social Climber', published in 1998, but has slight variation in the arrangement of the feet.
Lot 505
8th-10th century AD. A bronze sword hanger with stylised facing bird mask in high relief on a ribbed panel with human mask at the centre, tongue-shaped return strap to the reverse attached with a rivet. 16 grams, 34mm (1 1/4"). Very fine condition. Extremely rare. From the family collection of a London gentleman; formed in the late 1940s-1950s; thence by descent. The iconography represents a human or god in bird form, possibly Oðinn or Volundr (Wayland the Smith").
Lot 508
Late 10th-early 11th century AD. A bronze pommel formed with three bulbous lobes and two flared finials, of Petersen's Type S; hollow with aperture to the upper face. Cf. the example from Sandbu, Vaage, Norway in Peirce, I. Swords of the Viking Age, item C237 p.102-3. 58 grams, 50mm (2"). Very fine condition. From an old North Country collection; formed between 1970-2000.
Lot 541
13th-14th century AD. A bronze heraldic pendant mount, shield-shaped with the arms of the De Clare family in the form of three red enamel chevron gules; hinge to the top with small shield to the top with engraved chevron pattern, lug to the back. 19 grams, 58mm (2 1/2").From an old North Country collection; formed between 1970-2000; found Derbyshire, UK, 1999. Very fine condition.Accompanied by an old Portable Antiquities Scheme itentification slip. The de Clare family were Norman lords and were associated with the Welsh marches, Suffolk, Surrey and Kent, particularly Tonbridge, as well as Ireland. They were descended from Richard Fitz Gilbert, First Lord of Clare, who accompanied William the Conqueror during the Norman conquest.
Lot 542
12th-14th century AD. A gilt-bronze rectangular plaque, convex in section with rivets to the long edges, three absent; the median blue-enamelled field divided per fess with a passant bird above and a hatched tower below. 22 grams, 41mm (1 1/2"). Extremely fine condition. Rare. From a private UK collection; acquired in London before 1980.
Lot 601
Circa 1930. A bronze Tyrannosaurus rex car mascot with pegs for posable forelegs; a newspaper cutting with image of the mascot; nineteen gloss photographs of the model; two glass photographic plates of the model. See Swinton, Dr William Elgin, Monsters of Primeval Days, London, 1931; see also, same author, The Dinosaurs - A Short History of a Great Group of Extinct Reptiles, London, 1934 wherein many of the drawings, models and dioramas created by Edwards are published, described and illustrated (the author at the Natural History Museum, London, 1924-1961 later Director of Life Sciences, Royal Ontario Museum, Canada, died 1994"). 473 grams total, model: 12cm (4 3/4"). [No Reserve] Fine condition, one hindleg repaired.From the historic collection of Gregory, Bottley & Lloyd; acquired by Percy Bottley of Gregory, Bottley & Co. in the 1930s; formerly from a historic natural history art collection, the artistic work of Palaeontologist, Commander Vernon Edwards. Vernon Edwards is credited as being one of the most talented and influential dinosaur model makers of the 20th century. His work has appeared in museums and galleries around the world; it was a major influence on movie producers and early special effects creators, particularly when films such as The Lost World and King Kong began to showcase dinosaurs as part of the increasingly popular ‘monster movies’ of the 1920's and 30's.Edwards was born in 1891 into a naval family and attended Weymouth College. In 1914 he joined the navy and served throughout World War One; after the war he found it difficult to adjust to civilian life and, among other professions, tried his hand at farming. His greatest passion was model making, being self taught in art and anatomy, and it was whilst staying with family in Sussex in the early 1920's that he met Dr F.A. Bather, Keeper of Geology at the British Museum. Dr. Bather was impressed by the detailed and accurate models that Edwards was producing and asked him to produce a series of prehistoric models for the British Museum (Natural History), now known as the Natural History Museum. Vernon Edwards was given access to the museum's collections and scientific monographs, so the models he produced were up to date reconstructions which were then authenticated by Dr. Bather and later by Dr. W.E. Swinton for scientific accuracy. His major work for the Museum was a series of dioramas which graced the 'Fossil Fish' gallery until the late 1970's. The models proved to be very popular and many museums around the world would order them to highlight their growing and increasingly popular collections of paleontological specimens; the largest collections in the UK can now be found in Bolton Museum and the Horniman Museum, London. At this time Edward’s work would also go on to be used for cigarette cards, as well as appearing in many popular magazines, such as The Illustrated London News and The Listener, but it was the publication of The Dinosaurs: A Short History of a Great Group of Extinct Reptiles, by W.E. Swinton, the first serious dinosaur book ever produced, that would place his work at the forefront of academic and popular imagination. Commercial production of the models was time-consuming, which made the models expensive, so very few were produced other than for museums. Being of plaster they were also fragile, so very few outside well-conserved museum collections survive undamaged. The items in this collection are a selection of original sketches and paintings by Vernon Edwards, master models from which moulds were taken, and stock models produced for sale by Gregory Bottley & Co. M.E. Howgate M.Sc. FLS (Authority on Vernon Edwards)
Lot 608
Circa 1930.A bronze car mascot of Ceratosaurus with head turned left, one foreleg and one hindleg absent; a card box marked 'Masters' with glass photographic plates of the model; three monochrome gloss prints of the model with pricing information to the reverse. 635 grams total, 13cm (5"). Fine condition.From the historic collection of Gregory, Bottley & Lloyd; acquired by Percy Bottley of Gregory, Bottley & Co. in the 1930s; formerly from a historic natural history art collection, the artistic work of Palaeontologist, Commander Vernon Edwards. See Swinton, Dr William Elgin, Monsters of Primeval Days, London, 1931; see also, same author, The Dinosaurs - A Short History of a Great Group of Extinct Reptiles, London, 1934 wherein many of the drawings, models and dioramas created by Edwards are published, described and illustrated (the author at the Natural History Museum, London, 1924-1961 later Director of Life Sciences, Royal Ontario Museum, Canada, died 1994").Vernon Edwards is credited as being one of the most talented and influential dinosaur model makers of the 20th century. His work has appeared in museums and galleries around the world; it was a major influence on movie producers and early special effects creators, particularly when films such as The Lost World and King Kong began to showcase dinosaurs as part of the increasingly popular ‘monster movies’ of the 1920's and 30's.Edwards was born in 1891 into a naval family and attended Weymouth College. In 1914 he joined the navy and served throughout World War One; after the war he found it difficult to adjust to civilian life and, among other professions, tried his hand at farming. His greatest passion was model making, being self taught in art and anatomy, and it was whilst staying with family in Sussex in the early 1920's that he met Dr F.A. Bather, Keeper of Geology at the British Museum. Dr. Bather was impressed by the detailed and accurate models that Edwards was producing and asked him to produce a series of prehistoric models for the British Museum (Natural History), now known as the Natural History Museum. Vernon Edwards was given access to the museum's collections and scientific monographs, so the models he produced were up to date reconstructions which were then authenticated by Dr. Bather and later by Dr. W.E. Swinton for scientific accuracy. His major work for the Museum was a series of dioramas which graced the 'Fossil Fish' gallery until the late 1970's.The models proved to be very popular and many museums around the world would order them to highlight their growing and increasingly popular collections of paleontological specimens; the largest collections in the UK can now be found in Bolton Museum and the Horniman Museum, London. At this time Edward’s work would also go on to be used for cigarette cards, as well as appearing in many popular magazines, such as The Illustrated London News and The Listener, but it was the publication of The Dinosaurs: A Short History of a Great Group of Extinct Reptiles, by W.E. Swinton, the first serious dinosaur book ever produced, that would place his work at the forefront of academic and popular imagination.Commercial production of the models was time-consuming, which made the models expensive, so very few were produced other than for museums. Being of plaster they were also fragile, so very few outside well-conserved museum collections survive undamaged. The items in this collection are a selection of original sketches and paintings by Vernon Edwards, master models from which moulds were taken, and stock models produced for sale by Gregory Bottley & Co.M.E. Howgate M.Sc. FLS (Authority on Vernon Edwards) [No Reserve]
Lot 609
Circa 1930. A bronze car mascot of Corythosaurus with one hindleg absent; monochrome photograph of the model with pricing information to the reverse; large preparatory sketch for a wooden block model; glass photographic plate with image of the model; two preparatory sketches with production notes. 344 grams total, 14cm (5 1/2"). Fine condition.From the historic collection of Gregory, Bottley & Lloyd; acquired by Percy Bottley of Gregory, Bottley & Co. in the 1930s; formerly from a historic natural history art collection, the artistic work of Palaeontologist, Commander Vernon Edwards. See Swinton, Dr William Elgin, Monsters of Primeval Days, London, 1931; see also, same author, The Dinosaurs - A Short History of a Great Group of Extinct Reptiles, London, 1934 wherein many of the drawings, models and dioramas created by Edwards are published, described and illustrated (the author at the Natural History Museum, London, 1924-1961 later Director of Life Sciences, Royal Ontario Museum, Canada, died 1994").Vernon Edwards is credited as being one of the most talented and influential dinosaur model makers of the 20th century. His work has appeared in museums and galleries around the world; it was a major influence on movie producers and early special effects creators, particularly when films such as The Lost World and King Kong began to showcase dinosaurs as part of the increasingly popular ‘monster movies’ of the 1920's and 30's.Edwards was born in 1891 into a naval family and attended Weymouth College. In 1914 he joined the navy and served throughout World War One; after the war he found it difficult to adjust to civilian life and, among other professions, tried his hand at farming. His greatest passion was model making, being self taught in art and anatomy, and it was whilst staying with family in Sussex in the early 1920's that he met Dr F.A. Bather, Keeper of Geology at the British Museum. Dr. Bather was impressed by the detailed and accurate models that Edwards was producing and asked him to produce a series of prehistoric models for the British Museum (Natural History), now known as the Natural History Museum. Vernon Edwards was given access to the museum's collections and scientific monographs, so the models he produced were up to date reconstructions which were then authenticated by Dr. Bather and later by Dr. W.E. Swinton for scientific accuracy. His major work for the Museum was a series of dioramas which graced the 'Fossil Fish' gallery until the late 1970's. The models proved to be very popular and many museums around the world would order them to highlight their growing and increasingly popular collections of paleontological specimens; the largest collections in the UK can now be found in Bolton Museum and the Horniman Museum, London. At this time Edward’s work would also go on to be used for cigarette cards, as well as appearing in many popular magazines, such as The Illustrated London News and The Listener, but it was the publication of The Dinosaurs: A Short History of a Great Group of Extinct Reptiles, by W.E. Swinton, the first serious dinosaur book ever produced, that would place his work at the forefront of academic and popular imagination.Commercial production of the models was time-consuming, which made the models expensive, so very few were produced other than for museums. Being of plaster they were also fragile, so very few outside well-conserved museum collections survive undamaged. The items in this collection are a selection of original sketches and paintings by Vernon Edwards, master models from which moulds were taken, and stock models produced for sale by Gregory Bottley & Co.M.E. Howgate M.Sc. FLS (Authority on Vernon Edwards) [No Reserve]
Lot 729
2nd millennium BC. A bronze cylinder seal with intaglio frieze of two opposed gryphons or winged horses with plant between, horse, sun-wheel and other objects in the field. 61 grams, 32mm (1 1/4"). Fine condition. Property of a Middlesex lady; acquired on the London art market in 2007; formerly in a private collection formed in the 1980s.
Lot 765
13th-6th century BC. A bronze belt plate embossed with a central male deity head facing, with star motif to either side; in panels to the sides a feline head facing; silver mount to the border. 7 grams, 70mm (2 3/4"). Very fine condition. Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
Lot 767
Akkadian, 1185-1155 BC. A bronze axehead with tubular socket, four raised ribs extending to a rear 'comb', thickened borders to the blade with swept underside; two lines of Akkadian cuneiform text to one face within a frame reading ša EŠŠ šu-ut-ru-uk/nah-hu-un-te i.e. “(property) of King Shutruk-Nahhunte”. Cf. Godard, F. The Art of Iran, London, 1965 plate 13 for type. 380 grams, 21.5cm (8 1/2"). Fine condition. Private collection, London, UK; formerly with Persepolis Gallery, Mayfair, London, UK; in the 1980s. Shutruk-Nahhunte (or Šutruk-Nakhunte) was ruler of Elam from about 1185 to 1155 BC, the second king of the Shutrukid Dynasty. He was married to the daughter of Meli-Šipak, a Kassite ruler. In his reign, Elam defeated the Kassites and established a short-lived Elamite Empire, which was later conquered by Nebuchadnezzar I of Babylon, in 1120 BC. A bronze dagger with the same inscription was published by F. Vallat, in CUSAS 17 (Cuneiform Royal Inscriptions and Related Texts in the Schoyen Collection. 2011), no. 90. Ceremonial axe-heads, daggers and other weapons with royal inscriptions are often found in Luristan burials.
Lot 774
9th-7th century BC. A Tepe Sialk bronze vessel with flared rim, neck with collar to the middle; globular body with series of domes surrounding lion head with engraved details to the face; to the top a thin neck supporting a long spout. 308 grams, 24cm (9 1/2"). Fine condition.Property of a London gentleman; acquired London art market, 1970-1980.
Lot 779
3rd-7th century AD. A bronze bowl with thin rim and deep sides, inside engraved with a double line enclosing the image of a standing bird, possibly a guinea fowl, with crest to the top of the head, wreath in mouth and large tail feathers arching back, details of feathering to the body. 195 grams, 14cm (5 1/2"). Fine condition. Property of a London gentleman; previously in an important Mayfair collection, circa early 1980s. [No Reserve]
Lot 780
9th-7th century BC.A bronze phiale with flaring rim and ribbed petal decoration to the edges and a raised centre; decorated to the centre with a rosette and repeating leaf pattern to the edge of the raised centre and the flaring rim; to one edge of the central area inscribed image of a winged scarab and nine letters of Phoenician script. 195 grams, 16cm (6 1/4"). Fine condition.Property of a European gentleman living in London; acquired in the UK before 1980.
Lot 782
Late 2nd millennium BC.A sceptre composed of two tubular bronze elements comprising: a lower section with stepped base, waisted grip, slender shaft with beaded collar and flange finial; an upper section with 'Master of Animals' figure with openwork legs, opposed beast-heads emerging from the shoulders, face with beaked nose, baluster above; mounted on a custom-made stand. Cf. Legrain, L. Luristan Bronzes in the University Museum, Pennsylvania, 1934 plate III, item 8. 495 grams, 39.5cm (15 1/2"). Fine condition.Property of an Essex gentleman; formerly with a central London gallery; acquired in the 1980s.
Lot 783
13th-6th century BC. A bronze sceptre in the form of a male wearing a headdress, prominent nose and round eyes, rearing animal heads to either side, wide hips and animal feet below; attached to a vase shaped base with narrow neck and bulbous body; mounted on a custom-made stand. 451 grams, 25.5cm including stand (10"). Fine condition. Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
Lot 784
2nd millennium BC. A bronze sceptre finial in the form of a tube with two bull heads either side with arching necks, open mouths and curling horns. 102 grams, 85mm (3 1/4"). Fine condition.Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
Lot 785
2nd millennium BC. A bronze whetstone finial formed as an ibex with tubular body and folded forelegs, bobbed tail above the socket, lateral attachment holes, arched neck and small conical head with swept horns and ears, pellet eyes. Cf. Moorey, P.R.S. Ancient Bronzes From Luristan, London, 1974 plate IV(C"). 64 grams, 82mm (3 1/4"). Fine condition. From an important private London collection; formed in the 1970s and 1980s.
Lot 824
Early Cycladic II Period, 3rd millennium BC. A marble head from a Cycladic figure, with long slender head with flattened top arching back slightly, long nose and long slender neck; mounted on a custom-made stand. For a similar piece see The Metropolitan Museum of Art, accession number 64.246. For a discussion on Cycladic art see, Stampolidis, N. and Sotirakopoulou, P. Aegean Waves: Artworks of the Early Cycladic Culture in the Museum of Cycladic Art at Athens, Milan, 2008. 496 grams total, 14cm including stand (5 1/2"). Fine conditionEx an important collection; from a Mayfair gallery in the 1990s, and duplicates from the Ian Woodner collection, New York (he amassed a large group of Cycladic works of art before his death in 1990 some of his collection is exhibited in the National Gallery of Art, Washington DC").The Cycladic islands of the Aegean achieved a certain level of prosperity due to the wealth of natural resources on the islands such as gold, silver, copper, obsidian and marble. This prosperity allowed for a flourishing of the arts and the uniqueness of Cycladic art is perhaps best illustrated by their clean-lined and minimalist sculpture which is among the most distinctive art produced throughout the Bronze Age Aegean. Most of the figures were sculpted from slim rectangular pieces of marble using an abrasive such as emery. There are on occasion surviving traces of colour on some statues which was used to highlight details such as hair in red and black and facial features were also painted onto the sculpture such as eyes. Representations of the mouth, however, are very rare on Cycladic sculpture. Their most likely function is as some sort of religious idol and the predominance of female figures, sometimes pregnant, suggests a fertility deity. Supporting this view is the fact that figurines have been found outside of a burial context at settlements on Melos, Kea and Thera. Alternatively, precisely because the majority of figures have been found in graves, perhaps they were guardians to, or representations of, the deceased. Indeed, there have been some finds of painting materials along with figures in graves which would suggest that the painting process may have been a part of the burial ceremony. .
Lot 840
Warring States Period, 475-221 BC.A squat bronze ding vessel with three rounded legs, median ridge, two square loop handles, domed lid with three loops; two lines of inscription to the lid and three more to the body. Cf. Song, L. Chinese Bronze Ware, Cambridge, 2011 p.33 for type. 3 kg, 33.5cm (9 1/4"). Fine condition, some surface accretion.Acquired on the London art market prior to 1980.
Lot 841
Shang Dynasty, 1600-1050 BC. A hollow-formed fangyi wine vessel formed as a square-section 'house' with chamfered base, median bulge to the sidewalls, gabled lid; openwork flanges to the edges of the body and lid and vertyically to the centre of each face; rectangular-section lid with gabled knop; reserved kuilong ornament. Cf. Song, L. Chinese Bronze Ware, Cambridge, 2011 p.61 for type. 7.8 kg, 41cm (16"). Fine condition.UK art market, acquired prior to 2000.
Lot 842
Warring States Period, 475-221 BC. A bronze tripod vessel with bulbous body, flared neck and base; to the shoulder, two animal masks with attached free-running rings; to the base three legs formed as birds with spread wings modelled in the round; domed lid with three radiating birds and larger central bird with spread wings; parcel-gilt scrolled tendril decoration to base, body and lid. Cf. Song, L. Chinese Bronze Ware, Cambridge, 2011 p.48-9 for type. 2 kg, 34.5cm (13 1/2"). Fine condition.From an important London collection, acquired in the 1990s.
Lot 843
Tang Dynasty, 618-907 AD. A bronze domed box with four petalled rim, edges decorated with scrolling cloud motif, both halves decorated on the top with a standing winged deer, right leg bent and with flower to the mouth with two long ribbons falling to the ground; bird to the back of the deer, and scrolling cloud motifs; to the edge further cloud motifs. 61 grams, 65mm (2 1/2"). Fine condition.Property of a London collector; by inheritance from his grandfather; acquired during travels in the Far East in the 1920s. In Chinese mythology Wang Shu was the female driver of the moon and she is commonly depicted as a winged deer. The aerial journey, which was made like a royal procession with gods and spirits in attendance, seems to have been a regular feature of Chinese Shamanism. [No Reserve]
Lot 844
Qing Dynasty, 18th-19th century AD.A squat cast bronze body with central recess, four stub legs, two elephant-head loops, four cloud-shaped panels with reserved images of flowers; separate domed lid with openwork foliage band, handle formed as a crouching dog. 589 grams, 11cm (4 1/4"). Fine condition, usage wear.Ex South London collection; acquired in the late 1990s.
Lot 848
6th-2nd century BC.A large bronze eagle with head turned and looking back, curving beak and large expressive eyes; wings folded back over the body and down tail with detailing of feathers; openwork feet with socket hole to the top; square-shaped socket to the front of chest; mounted on a custom-made stand. 2.04 kg, 42cm including stand (16 1/2"). Fine condition.Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
Lot 849
6th-2nd century BC. A large gilt bronze head of a horse with flaring nostrils, open mouth, wide expressive eyes, ears back; black pigment to the mane and engraved detailing of fur to the surface. 1.67 kg, 13cm (5"). Fine condition. Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
Lot 851
17th-18th century AD. A bronze figure of the goddess Arya Tara seated on a lotus flower with right foot resting on a smaller lotus flower; hair pulled up into top knot, crown to the head with finials set with turquoise and coral; large earrings set with turquoise; strings of necklaces falling across the chest, one set with a coral bead; left hand held up in blessing and holding an open flower, right hand holding an open flower. 732 grams, 13.5cm (5 1/4"). Fine condition.Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
Lot 852
Ming Dynasty, mid 16th century AD. A gilt bronze figure of Buddha seated on a lotus throne, eyes closed in meditation, elongated ears and curled hair pulled up into a top knot; legs crossed and left hand resting in the palm, right hand touching the throne; lose robes. 1.69 kg, 21.5cm (8 1/2"). Fine condition.Property of a Sussex gentleman; acquired before 1990.
Lot 889
18th century AD.A bronze statue of the goddess Parvati holding a bird in left hand; hair parted in the centre and curled into a large bun to the back of the head, large hoop earrings to the elongated ears; strings of necklaces to the neck and curving around the breasts, both arms with armlets and bracelets; thick sash to the waist with strings of beads hanging down the legs, sash falling down the middle and across the thighs, anklets to the feet; standing on a lotus flower base. 1.80 kg, 33cm (13"). Fine condition.Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
Lot 915
12th century AD. A broad bronze bowl with rolled rim; panel to the centre with facing of Buraq with human head, horse body and wings, on a foliage field, radiating trefoils and tendrils; rim with reserved calligraphic text on a foliage field. See von Gladiss, A. Glanz und Substanz. Metallarbeitung in der Sammlung des Museums für Islamische Kunst, Berlin, 2012 for discussion. 1.8 kg, 50cm (19 3/4"). Fine condition, underside cracked.Ex German collection; acquired 1980s. Buraq is a steed in Islamic mythology, a creature from the heavens that transported the prophets. Most notably Buraq carried the Islamic prophet Muhammad from Mecca to Jerusalem and back during the Isra and Mi'raj or Night Journey, as recounted in hadith literature. It is typically male, yet Ibn Sa'd has Gabriel address the creature as a female, and it was often rendered by painters with a woman's head. The image is probably derived from Classical references to Pegasus, as well as depictions of the heavenly mounts of the Hindu gods, such as Khamadenu, that Muslim merchants would have encountered.
Lot 916
13th century AD. A bronze bowl with everted flat rim engraved to rim and sides with a band of cursive Arabic script interspersed by small medallions; central cavetto engraved with the composite beast, Buraq, with scrolling vegetation around, sun-burst motif to the border; to the exterior base a bird with outstretched wings; possibly a part of a candle holder. 437 grams, 15.5cm (6 1/4"). Property of a London gentleman; previously in an important Mayfair collection, circa early 1980s. [No Reserve] Fine condition.
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