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Click here to subscribe13th-14th century AD. A bronze seal matrix with discoid base, hexagonal-section shank with bulb and pierced lobe finial; intaglio design of a crowned head(?) and enigmatic inscription 'S' A[.]A[.]VO*'; supplied with a museum-quality impression. 8.47 grams, 24mm (1"). [No Reserve] Fine condition. Property of a Norfolk collector.
14th-15th century AD. A bronze seal matrix with hexagonal-section shank, ribbed collar, pierced trefoil lug above; intaglio design of a hatched quatrefoil and Lombardic legend to the border '*LELAMIAVET' (you have a loyal friend); supplied with a museum-quality impression. 10 grams, 25mm (1"). [No Reserve] Very fine condition. Property of a Norfolk collector.
15th-16th century AD. A continental bronze circular flat seal with attached hinged rib and suspension loop to reverse; with intaglio design of square heraldic arms divided vertically, to left with four birds above a chevron, three birds below and to right with three crenellated bars. 30.48 grams, 34.03mm (1 1/2"). [No Reserve] Fine condition. From a significant private English collection of seal matrices, formed over the past 35 years.
14th century AD. A bronze discoid plaque with high-relief image of a dolphin gripping its tail in its mouth, figure on its back. 2.60 grams, 21mm (3/4"). [No Reserve] Fine condition. Property of a Suffolk lady; acquired on the UK art market. Cf. Spencer, B. Pilgrim Souvenirs and Secular Badges, Woodbridge, 2010, items 282, 283.
12th-15th century AD. A gilt bronze knife handle with tapering body decorated with hatched pattern to the sides, top slightly flaring with domed end set with garnet, and with finial end; body with two openwork panels, garnet set into the central panel. 12 grams, 63mm (2 1/2"). [No Reserve] Fine condition. Property of an American collector; acquired 1980-2000.
13th-15th century AD. A bronze onion-top thimble with plain rim, bands of indentations to the side, plain upper face with sunken roundel to the apex. 27 grams, 20mm (3/4"). [No Reserve] Fine condition, rim chipped. Property of a gentleman; acquired in the late 1960s-early 1970s. Cf. McConnel, B. The Collector's Guide to Thimbles, London, 1996, p.15.
10th-12th century AD. A bronze barrel lock formed as a horse with arched neck, ring-and-dot eyes, curved legs, D-shaped tail; cavity to the chest with ferrous remains of the lock mechanism. 42 grams, 47mm (1 3/4"). [No Reserve] Fine condition. Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972.
15th century AD. A bronze spout formed as a canine head with scooped ears, incised lentoid eyes, snub muzzle with tube issuing from the mouth; scooped body to the rear. 58 grams, 61mm (2 1/2").[No Reserve] Extremely fine condition. Found near Wragby, Lincolnshire, UK, in February 2016 (LIN-44B0F5"). Recorded with the Portable Antiquities Scheme with reference number LIN-44B0F5; accompanied by a print out of the PAS report. Identified by Adam Daubeny, Lincolnshire FLO, as probably from an ecclesiastical aquamanile or similar vessel.
2nd millennium BC-19th century AD. A mixed group comprising: a knapped flint arrowhead; a bifacial Byzantine enkolpion; a pewter fish mount; a bronze disc with bird motif; a gilt-bronze mount with rosette; a silver filigree disc mount with granulation. 32 grams total, 17-42mm (3/4 - 1 3/4"). [6, No Reserve] Fine condition. Property of a German gentleman; acquired on the European art market in the 1990s.
1793 AD. A mixed group of battlefield items recovered from the site of the battle of Lauterbourg (1793 AD) comprising: a quantity of lead musket balls, with one flat nipped face; a quantity of impacted musket balls, flattened and deformed; a quantity of lead shrapnel from munitions; a bronze fuse from a cannonade; four triangular-section lead bars for casting musket balls. 8.1 kg total, lead bars: 23-24cm (9 - 9 1/2"). [No Reserve] Mainly fine condition; one lead bar broken. Property of a Hampshire collector; collected by the vendor's father in the 1930s. On 13 August 13, 1793, a battle of the War of the First Coalition took place in the forested area by the town of Lauterbourg (Luterburi) on the present Franco-German border. The present group of items were recovered from the site of this battle. The lead bars were used to cast fresh musket balls on the battlefield.
1793 AD. A mixed group of battlefield items recovered from the site of the battle of Lauterbourg (1793 AD) comprising: an iron horse-shoe; a bronze pipe-bowl; an iron round-section peg with shoe-shaped head; a discoid iron plaque; an iron cannonball (8cm diameter); a large iron cannonball (10cm diameter); a bronze officer's order seal with initials 'ML' over a 'liberty cap' and five stars within a wreath (for the 5th year of the Republic), supplied with a wax impression; an iron plate with hooked strap; four French coins including Louis XVI (12 deniers), two of the First Republic (un decime and a year 5, Strasbourg, 5 centimes) and an illegible silver issue; a wooden-handled cleaver with iron blade and fittings. 7.2 kg total, cleaver: 33cm (13"). [13, No Reserve] Mainly fine condition. Property of a Hampshire collector; collected by the vendor's father in the 1930s. On 13 August 13, 1793, a battle of the War of the First Coalition took place in the forested area by the town of Lauterbourg (Luterburi) on the present Franco-German border. The present group of items were recovered from the site of this battle. The purpose of the farrier's cleaver may have been to remove a hoof from the body of a fallen horse in order to secure a replacement.
Late 4th-late 3rd century BC. A gold diadem consisting of a twisted rope border with a series of heart shaped scrolls with applied acanthus leaves and flowers with gold wire detail and tear drop shaped settings with blue enamel, flowers recessed for red enamel inlay; central wire motif in the form of a Hercules knot with applied flowers and acanthus leaves with tear drop shaped setting with blue enamel; in the centre a amethyst cameo with the bust of a woman wearing a diadem and robes held at the shoulder by a brooch; one small flower element present but detached. 84 grams, 16cm (6 1/4"). Fine condition. Property of a Mayfair, London, UK, businessman; previously in an important South German collection since the beginning of the 20th century. Supplied with a positive X-Ray Fluorescence metal analysis certificate. Cf. for another diadem of similar design and construction see an example in the Athens National Archaeological Museum, ex Helene Stathatos collection and said to be from Thessaly. Ref. Aikaterini Despini, Greek Art: Ancient Gold Jewellery, Athens, 2006 (text in English), pl.29-30, dated to the last quarter of the 4th century BC, and with further bibliography. There is a diadem of similar technique from Canosa, Southern Italy in the Tarentum Museo Archelogico Nationale, inventory number: 22.437, ref. Despini, Op. Cit. No.38, dated to circa 200 BC, and with further bibliography; for another example of similar design and construction refer to the example of a fragment of a diadem (about a third) from the Erotes Tomb, Eretria, Northern Greece, dated to the late 3d century BC, now in the Museum of Fine Arts, Boston (Inv. No. 98.798), ref. Herbert Hoffmann & Patricia F. Davidson, Greek Gold: Jewellery from the Age of Alexander, Brooklyn, 1965, p.60, no.3. Accompanied by an Art Loss Register certificate. Ancient Greek colonisation began at an early date, during the so-called Geometric period of about 900 to 700 BC, when many seminal elements of ancient Greek society were also established, such as city-states, major sanctuaries, and the Panhellenic festivals. The ancient Greeks were active seafarers seeking opportunities for trade and founding new independent cities at coastal sites across the Mediterranean Sea. By the seventh and sixth centuries BC, Greek colonies and settlements stretched all the way from western Asia Minor to southern Italy, Sicily, North Africa, and even to the coasts of southern France and Spain. Regional schools of artists exhibited a rich variety of styles and preferences at this time. Trading stations played an important role as the furthest outposts of Greek culture. Here, Greek goods, such as pottery, bronze, silver and gold vessels, olive oil, wine, and textiles, were exchanged for luxury items and exotic raw materials that were in turn worked by Greek craftsmen. After the unprecedented military campaign of Alexander the Great, more extensive trade routes were opened across Asia, extending as far as Afghanistan and the Indus River Valley. These new trade routes introduced Greek art to cultures in the East, and also exposed Greek artists to a host of artistic styles and techniques, as well as precious stones. Garnets, emeralds, rubies, and amethysts were incorporated into new types of Hellenistic jewellery, more stunning than ever before. The most important of the Black Sea colonies were Kyzikos, Sinope, Pantikapaion, and Olbia. The colonies along the shores of the northern Black Sea interacted with the local Scythian and Sarmatian peoples who prized the workmanship of the Greek goldsmiths with many examples having been found in the kurgans, or burial mounds, of the aristocracy. This diadem shows many similarities to work found in the Pontic region, as well as the diadem found with the female buried in the tomb of Philip II, father of Alexander the Great, at Vergina in Greece. The gold pectoral from Thick Barrow, Dnipropetrovsk Region, Ukraine, now in the Hermitage Museum, shares many similarities in style and technique with this diadem, particularly the use of fine wires and the scrolling flowers. The closest parallel to this piece is a gold diadem from Thessaly and dating to the fourth century BC, which is now in the Getty Museum, Malibu. The use of cameos on the front of diadems seems to be particularly associated with the eastern Greek craftsmen and their patrons, with the best known example being the Sarmatian crown from Khokhlach kurgan, now in the Hermitage. The image on this cameo could well be a portrait of the original owner, a highly important individual of the Pontic aristocracy.
18th-19th century AD. A bronze icon with one side showing the crucifixion with Corpus Christi and four mourners, city wall to the rear, skull below, sun and moon flanking the shoulders, angels and face of Christ, Cyrillic legends; to the reverse, dense scrolled tendrils with foliage and grapes. 318 grams, 16.5cm (6 1/2"). [No Reserve] Fine condition. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part-paid in icons and other important works of art by the Russian government.
18th-19th century AD. A bronze icon showing the crucifixion with Corpus Christi and four mourners, city wall to the rear, skull below, sun and moon flanking the shoulders, angels and face of Christ above, Cyrillic legends. 745 grams, 21cm (8 1/4"). [No Reserve] Fine condition, usage wear. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part paid in icons and other important works of art by the Russian government.
18th-19th century AD. A rectangular bronze iconic panel with Mary as the Virgin of the Burning Bush, and Christ in a ring surrounded by angels and figures; text to the upper edge. 204 grams, 10cm (4"). [No Reserve] Fair condition, usage wear. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part paid in icons and other important works of art by the Russian government.
18th-19th century AD. A bronze icon showing nimbate Christ enthroned in high relief, reserved against an enamelled field in blue, white, green and yellow; Christ with book displayed in his left hand, seated on a throne with footstool, Cyrillic legends and billeted border. 1.2 kg, 22cm (8 3/4").[No Reserve] Fine condition, usage wear. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part-paid in icons and other important works of art by the Russian government.
18th-19th century AD. A rectangular bronze icon with raised border, inner band of grapes and leaves reserved against a blue enamel field, facing image of a nimbate saint in robe and mantle unfurling a scroll, Cyrillic text to the sides. 352 grams, 11.5cm (4 1/2"). [No Reserve] Fine condition. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part-paid in icons and other important works of art by the Russian government.
Early 18th century AD. A provincial rectangular wooden icon with tempera painted scenes in three registers depicting Mary Theotokos (Богородица), St. John the Baptist (Иоанн Креститель) and scenes with standing saints; bronze oklad with basma decoration to the edge; two slots to the reverse, one with wooden mounting block, adhesive labels with Lithuanian Republic cultural ministry stamp. 803 grams, 31 x 24.5cm (12 1/4 x 9 3/4"). Fair condition, oklad torn. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part paid in icons and other important works of art by the Russian government.
19th century AD. A rectangular wooden icon with tempera painted scene of mourners, inserted bronze crucifix with Corpus Christi surrounded by sun, moon, skull, tower, two angels, Father and Cyrillic text; slot and mounting block to the reverse. 758 grams, 32 x 19cm (12 1/2 x 7 1/2"). Fine condition. Property of a West London gentleman; acquired before 2000.
11th-12th century AD. A mixed group of bronze enkolpions comprising: two with niello cross to each face; one with niello-filled image of Mary with 'MPΘV'' legend, Corpus Christi reserved against a niello field. 35 grams total, 40-59mm (1 1/2 - 2 1/2"). Fine condition. [3, No Reserve] Property of a German collector; acquired in the 1990s.
11th-12th century AD. A pair of bronze enkolpions comprising: one with figure of Mary within a ropework border, 'MPΘV' legend, silver inlay to the reverse; one with Corpus Christi in high relief. 37 grams total, 58 - 73mm (2 1/4 - 3"). Fine condition. [2, No Reserve] From an old Munich collection; acquired on the German art market before 2000. Cf. Khanenko, B. Antiquites Russes Croix et Images, Kiev, 1899, items 56 and 62.
11th-12th century AD. A bone diptych with bronze hoops, each panel rectangular with reserved image of a standing robed and nimbate saint holding a cross to his chest within a raised border; possibly Saints Cyril and Demetrius. 14 grams, 57mm (2 1/4"). Fine condition. Property of a gentleman; acquired in the late 1960s-early 1970s.
6th-8th century AD. A D-section bronze hoop with ropework bands to the shoulders, hexagonal plaque with pointille border, intaglio image of a standing robed and nimbate saint between two fronds. 14 grams, 28mm overall, 20.83mm internal diameter (approximate size British W, USA 11, Europe 25.0, Japan 24) (1"). Property of a gentleman; acquired in the late 1960s-early 1970s. Extremely fine condition. A large wearable size.
8th-12th century AD. A D-section bronze hoop with hatched shoulders, rectangular bezel with raised panel, bust with pointille nimbus, raised sword in the right hand and cross in the left hand. 4.67 grams, 23mm overall, 20.47mm internal diameter (approximate size British V, USA 10 3/4, Europe 24.28, Japan 23) (1"). Property of a Surrey collector; acquired in the early 1970s. [No Reserve] Very fine condition.
11th-12th century AD. A hollow-formed bronze enkolpion cruciform pendant with niello-inlaid cross to the reverse, robed figure to the obverse with 'MP - ??' for Maria Theotokos. 14 grams, 47mm (2"). From an old Munich collection; acquired on the German art market before 2000. Cf. Khanenko, B. Antiquites Russes Croix et Images, Kiev, 1899, item 88-89. [No Reserve] Fine condition.
6th-9th century AD. A mixed group of bronze cruciform pendants comprising: one pierced with low-relief Corpus Christi; one similar with loop above; an enkolpion with Corpus Christi to one face and figure in orans posture to the reverse. 35 grams total, 39-56mm (1 1/2 - 2 1/4"). Property of a gentleman; acquired in the late 1960s-early 1970s. See Khanenko, B. Antiquites Russes Croix et Images, Kiev, 1899, for discussion. [3] Fine condition.
8th-9th century AD. A bronze enkolpion or hollow-formed reliquary cross pendant with incised quatrefoil motif to each broad face, pecked texturing; to the obverse five round recesses to accept inset gemstones or portraits; to the reverse, quatrefoild motif with incised text '??4?+' (Jo[h]an, John?"). 64 grams total, 90mm (3 1/2"). Property of a Hertfordshire, UK collector; acquired London art market, 1960s-1980s. Cf. Khanenko, B. Antiquites Russes Croix et Images, Kiev, 1899, items 44-5. Fine condition, hinge damaged, three recesses voided.
19th century AD. A bronze statuette of Mary standing on a plinth, with flowing robes and infant Jesus held in her left hand; hollow to the underside. 191 grams, 12cm (4 3/4"). Property of a West London gentleman; acquired before 2000. [No Reserve] Fine condition, small casting flaw to front.
Coin struck 324-329 AD. A bronze coin of Helena, mother of Constantine I, probably of Siscia mint, gilded and pierced as a pendant; the obverse showing the profile bust of Helena and the reverse showing her standing, holding a branch. 1.84 grams, 19mm (3/4"). See Sear 16609 for general coin type. Helena became Christian around 329 AD and journeyed on pilgrimage to the Holy Land; she is said to have discovered the True Cross there, with other relics and was later declared a saint. [No Reserve] Fine condition, usage wear.
Late Period, 664-332 BC. A hollow-formed bronze miniature situla, lotus-shaped in profile with loops to the rim; reserved ornament comprising lotus flowers and stems to the base, frieze of profile gods and attendants, animals between two barques above; mounted on a custom-made stand. 145 grams, 14.5cm including stand (5 3/4"). Fine condition; handle replaced, some losses to body. Property of an Essex lady; by gift, early 2000s; previously with Charles Ede, London, UK. See Excavations and Surveys in Israel, vol.20, 2008, for similar. The lotus-shaped situla was a symbolic water vessel used in religious rituals.The waters of the Nile were considered sacred in Egypt and they were used in purifying ceremonies from Predynastic times until the end of the Roman period. Scenes in a number of temples across Egypt depict the king or priests sprinkling water from a situla onto the floor of the inner sanctum as part of the daily rituals for the enshrined deity. In the Greek and Roman periods the cult of Isis gained prominence across the Mediterranean and beyond, and the use of sacred water became an essential part of the rituals associated with the goddess. A number of situla have been found at Isis temples across the Roman empire, attesting to their use. At Pompeii, the temple of Isis had a special building for keeping sacred Nile water, and paintings from the site depict priests holding situla and sprinkling water around the temple complex to purify it. In the famous Roman novel The Golden Ass, by Lucius Apuleius, a scene is described where the priests and devotees of the goddess process the sacred statue through the streets of Corinth on a decorated bier, sprinkling water from a situla to purify the ground before the goddess passes over it.
5th-3rd century BC. A bronze mirror with tang for attachment to handle, above tang a volute palmette pattern, at the top of mirror acroterion in the form of palmettes; on the body of the mirror incised decoration showing a winged boar. 701 grams, 24cm (9 1/2"). Fine condition. Property of a Middlesex gentleman; acquired in the 1980s. In classical mythology, the winged boar represented Khrysaor, son of the Gorgon Medusa and twin brother of the winged horse Pegasus. Khrysaor was also represented as a giant.
5th-3rd century BC. A group of flat sectioned bronze dolphins with detailing of the eye, dorsal fin and tail. 18 grams, 25-33mm (1 3/4"). Sear 1684. This unique type of coinage was cast in Olbia, in the Black Sea area of Thrace from the 5th to 3rd century BC; there are many varieties. The casting method employed was adopted by the Gallic Celts who originally came from this area; the dolphins were generally cast in a tree form connected by the tail, although some examples seem to have been cast individually. [10, No Reserve] Fine.
6th century BC. A bronze fibula comprising a balustered bow with trapezoidal catchplate to one end with pellet detailing to the outer face of the plaque, single-coil spring and pin. 12 grams, 62mm (2 1/2"). Very fine condition. Private collection, North London; acquired in the early 1990s. Cf. Hattatt, R. Ancient and Romano-British Brooches, Sherborne, 1982, item 209, 210.
8th-7th century BC. A bronze and iron brooch formed as a trapezoidal lipped catchplate, round-section ribbed bow, single-coil spring and pin. 23 grams, 82 mm (3 1/4"). Fine condition. Private collection, North London; acquired in the early 1990s. Cf.Hattatt, R. Ancient and Romano-British Brooches, Sherborne, 1982, item 207.
5th-4th century BC. A bronze D-shaped hoop with scaphoid bezel, intaglio image of a nude Proteus, god of rivers, in profile with a staff. 2.82 grams, 22mm overall, 19.07mm internal diameter (approximate size British R 1/2, USA 9, Europe 19.69, Japan 19) (1"). [No Reserve] Fine condition, bezel angled. Property of a lady; acquired on the European art market.
5th-3rd century BC. A round-section bronze hoop with expanding shoulders, elliptical bezel with intaglio motif of a figure seated on a stump holding a drop-spindle(?"). 5.23 grams, 22mm overall, 17.03mm internal diameter (approximate size British M 1/2, USA 6 1/2, Europe 13.41, Japan 13) (1"). [No Reserve] Very fine condition. Property of a European collector; acquired Europe, 1980s-1990s.
5th-3rd century BC. A bronze juglet with bulbous lower body, expanding neck and flared rim; applied flat-section strap handle with rosette finial; band of zigzag to the neck, scrolled tendrils to the body. 156 grams, 77mm (3"). Fine condition. From an important London collection, acquired in the 1990s.
Dated 1957(?) AD. Bronze. Obv: multiple impressions of both obverse and reverse dies. Rev: as obverse. 2.20 grams, 28.05mm. See S. 4146 for type. A spacer piece is a flan (this one is in the wrong metal and smaller/thinner than normal flan) placed between the die faces while the minting machinery is being set up, to prevent 'clashing' of the dies; they very rarely leave the mint. [No Reserve] As struck.
Third Intermediate Period, 1069-702 BC. A matched pair of bronze-framed alabaster mummy eye appliques, each with a black pupil. 72 grams total, main frames: 74-80mm (3 - 3 1/4"). Fair condition. Property of a London gentleman; acquired by his father in the 1970s; thence by descent. Cf. eye inserts in the wooden coffin of Djedkhonsefankh in Taylor, J.H. Death and the Afterlife in Ancient Egypt, London, 2001, item 172.
Early 5th-4th century BC. A gold armring formed as a hollow tapered tube, one end fitting into the other, with a circular perforation through both ends for insertion of a securing pin; the outer surface ornamented in relief, divided into two panels separated by a projecting collar and bands of ornament; each panel with a matching facing head, triangular in form, with striated hair, pointed arched brows convergent with the slender tapering nose, bulging cheeks and prominent cheekbones, almond-shaped eyes with a full-lipped mouth and a rounded protuberant chin; the heads and panels addorsed, each on a field of paired scrolling motifs, with palmettes below. 48 grams, 90mm (3 1/2"). Extremely fine condition. Excessively rare. Property of a professional collector; acquired on the UK art market before 2000; formerly in the private collection of Nicholas Wright, London, UK; accompanied by a copy of the hand-written invoice from Mr Wright, dated 16 April 1998; authenticated by one of the same experts who studied the Christies example sold in 2011. Supplied with two positive X-Ray Fluorescence metal analysis certificates, and a positive chemical analysis report by Dr A. Hartmann of Sensotec, Otzberg, Germany, number 06016/10/03/2016. Cf. similar ornament and layout on the gold arm ring from Bad Dürkheim, Germany, in Megaw, R.& V. Celtic Art. From its Beginnings to the Book of Kells, London, 1989, item 78; also see Christies Ancient Jewellery sale 2491, Christies Special Exhibition Gallery, New York, 7 December 2011, lot 384, for a similar example with less pronounced faces, which sold for $230,500. Accompanied by an Art Loss Register certificate. The ornament on this bracelet, with the faces showing the mouth as a straight line and with slanting eyes (see Megaw, R.& V. Celtic Art. From its Beginnings to the Book of Kells, London, 1989, item 74 for a sheet gold face from Schwarzenbach with similar facial features) and scrolls (see Stead, I. M. and Rigby, V., The Morel Collection, London, 1999, item 1746 for very similar scrolls on a bronze torc) is typically 'Celtic' while the palmette leaf design is directly copied from the Greek (see Stead, I. M. and Rigby, V., The Morel Collection, London, 1999, item 1723 for very similar palmettes, on another bronze torc and this example also has terminals of a similar form); in Greek art this palmette appears frequently, as here, as the termination feature at the foot of a design.
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![4th century BC. Group comprising: drachms (3); hemiobol and a bronze. 19.46 grams total. [5, No Reserve] Fine to very fine.](https://cdn.globalauctionplatform.com/666e5e12-a29f-481b-a7c7-a5de01232c4c/018f31c7-a0fd-4af1-9a29-bbdcf4818980/468x382.jpg)
