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Click here to subscribe4th-3rd millennium BC. A ceramic chalice with carinated body above collar, tapering cylindrical stem and broad flared base with rolled rim. 3.8 kg, 31.5cm (12 1/2"). From the deceased estate of an important Japanese art collector; the collection formed 1960-2010. [No Reserve] Fine condition.
3rd-2nd millennium BC. A large ceramic storage vessel with bulbous body, short neck, broad everted rim and convex base; the upper body is decorated with a series of concentric bands to the shoulder, a stylised wavy line between; below are paintings of zebu bulls and antelope standing between borders, with symbolic motifs in the field; much black pigmentation survives, along with fragments of other colours. 7.2 kg, 37cm wide (14 1/2"). Property of a North London gentleman; acquired in London prior to 2000; previously in a 1970s collection. Fine condition, repaired.
Han Dynasty, 206 BC-220 AD. An unglazed ceramic figure formed as a standing horse with detachable female rider; rider with dressed hair, ample sleeves, layered robes and painted face; horse with erect neck and head, ears pinned back, painted face, bridle, harness and saddle rug; hole for separately formed tail, now absent. See Prodan, M., The Art of The T'ang Potter, Thames and Hudson, 1960, for comparable examples and discussion. 9.3 kg, 60cm (23 1/2"). From the collection of an American lady living in London; acquired before 2000; accompanied by an Oxford Authentication thermoluminescence analysis report no.C100a36, dated 7 January 2000. Finely modelled.
4th century AD. A ceramic rectangular ostracon, Greek demotic inscription reading: ???? (couple) / ??? (??) MODIOY (a modios of wine) / T???? ?? ??? (of three with)... / ?E ?I ?I? ??N E (with what the)...ENE / ?? (greetings); mounted on a custom-made frame. See Tait, H., Greek Ostraca in the Bodleian Library at Oxford and various other Collections, London, 1930; La'da, C. and Rubinstein L., 'Greek Ostraca from Pselkis' in Zeitschrift für Papyrologie und Epigraphik, Bd. 110, 1996, pp.135-155. 104 grams total, 10.2cm including stand (4"). Ex central London gallery; formerly part of the Sir Thomas Phillips Collection, 1860. Most ostraca of the Ptolemaic and Roman Period are receipts, and belong to the same local level of tax-collecting operation as the bulk of ostraca in demotic, the Egyptian script used for daily economic writing during these periods. Where a substantial group of ostraca is preserved from the same time and place, they provide invaluable primary evidence for the functioning of the economy and the changes in the government of Egypt across these centuries. A particularly colourful example is provided by the group of ostraca from the excavations of Petrie at Koptos, relating to funding and supplies for trading exhibitions to Berenike and Myos Hormos, the ports of the Red Sea for trade between the Roman world and both the Arabian peninsula and India. This particular Ostrakon refers to the wine purchase. [No Reserve] Fine condition.
4th-5th century AD. A group of five redware ceramic bowls of Late Roman C-ware from Asia Minor, the smallest with carinated profile, regular horizontal reeding on the flange and radiating internal diagonal strokes. See Brown, A.C., Catalogue of Italian Terra-Sigillata in the Ashmolean Museum, Oxford, 1968; Webster G., CBA research report n.6, third edition: Romano-British coarse pottery, a student's guide, London, 1976; Ergün L., Gülseren K.S., 'Terra Sigillata and Red-Slipped Ware from Hadrianopolis in Southwestern Paphlagonia' in Anatolia Antiqua, Tome 20, 2012, pp.45-120. 3 kg total, 16.5 - 34.5cm (6 1/2 - 13 1/2"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Terra sigillata is used in archaeology as a general term for some of the fine red Ancient Roman pottery with glossy surface slips made in specific areas of the Roman Empire: African red slip ware (ARS) was the final development of terra sigillata. While the products of the Italian and Gaulish red-gloss industries flourished and were exported from their places of manufacture for at most a century or two each, ARS production continued for more than 500 years. 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. [5] Fine condition.
Late Ming Dynasty, 1368-1644 AD. A substantial hollow-formed ceramic statue formed as a seated figure holding an oval disk against the torso, resting one hand on a knee, and wearing a floor-length layered robe and ribbed headdress; face with thin eyes, raised brows, pursed lips and ears with elongated robes; blue, red, yellow and green painted pigment survives. See Lili, F., Chinese Ceramics, Cambridge, 2010, for discussion. 64.2 kg total, 74cm (29"). From the important collection of Chinese art formed in Japan. [No Reserve] Fair condition, repaired.
3rd millennium BC. A conical ceramic statue of a female shown with a voluminous skirt, ropework detailing to the collar, waist and bust, hands held at the waist; hair gathered behind the head and falling to the shoulders; oversized lentoid eyes with slit mouth below; mounted on a custom-made stand. Exhibited by Safani Gallery, 12 November 1998 - 20 January 1999; published in Acts of Faith: Idols of Ancient Cultures, New York, 1998, p.11. 1.9 kg total, 24.5cm including stand (9 3/4"). Property of a central London gentleman; formerly with Mahboubian Gallery of Ancient Art, New York, USA; accompanied by a copy of the purchase invoice, dated 1 December 1969. Fair condition.
Han Dynasty, 206 BC-220 AD. A hollow-formed ceramic dog modelled sitting; wearing jewelled harness and collar; swirl motifs on body; surviving black, green and red pigmentation; circular opening on base. 3 kg, 34cm (13 1/2"). From the private collection of Edward Lucie-Smith, an English writer, poet, art critic, curator and broadcaster; the collection formed since the 1990s. [No Reserve] Finely modelled.
12th-15th century AD. A ceramic sgraffito bowl with hemispherical body, broad flared rim and deep foot; the decorative design comprising interlocking border to rim and lattice roundel with foliate flourishes to the interior; ochre and green slip on a cream ground to the rim and interior; Lusignan Cyprus. 499 grams, 20cm (8"). Ex central London gallery since 2012; formerly with Bonhams, New Bond Street, 29 April 2009, lot 273 [part]; accompanied by copies of the relevant catalogue pages. [No Reserve] Fine condition.
12th-15th century AD. A ceramic sgraffito bowl with carinated body and deep foot; ochre and green slip on a cream ground on the interior and outer rim; interior decorated with a pair of fish within a circular border on the base, lozengiform motifs in circumferential panels above; Lusignan Cyprus. 581 grams, 16.5cm (6 1/2"). Ex central London gallery since 2012; formerly with Bonhams, New Bond Street, 29 April 2009, lot 275 [part]; accompanied by copies of the relevant catalogue pages. [No Reserve] Fine condition.
3rd millennium BC. A ceramic vase with conical lower body and bulbous upper with flat base and two loop handles, the neck broad and flared; black painted design to the upper body in chevrons and hatched discs. 3.7 kg, 36cm height (14"). From a west country collection in the 1990s; previously in a Hong Kong collection. Fine condition, repaired.
Ming Dynasty, 1368-1644 AD. A polychrome glazed ceramic roof finial formed as a galloping horseman with arms raised and hands voided to accept reins, wearing battle armour; mounted on a custom-made stand. 10.3 kg, 47cm including stand (18 1/2"). From a North London collection; acquired on the UK art market. [No Reserve] Fine condition.
Han Dynasty, 206 BC-220 AD. A hollow-formed ceramic figure modelled as a female dancer wearing a floor-length robe, long sleeves concealing her arms and hands, with the right sleeve thrown over her shoulder, the left held by her side, hair extending down the back; pink, cream and black pigmentation surviving. 7 kg, 57cm (22 1/2"). From a west country collection in the 1990s; previously in a Hong Kong collection; accompanied by a copy of a thermoluminescence test report issued by Laboratory Kotalla of Germany, report number 48CM110520. Finely modelled.
20th-17th century BC. A rectangular ceramic block with low-relief cuneiform text to one long face; accompanied by an old scholarly note, handwritten and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'Portion of clay object with cuneiform inscription, probably part of a brick inscription of royal content, c. 2100-1700 B.C.' 1.4 kg, 32cm (12 1/2"). Part of a specialised collection of cuneiform texts, the property of a London gentleman; examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s; this small collection is exceptional for the variety of types, including some very rare and well preserved examples; accompanied by an original scholarly note by W.G. Lambert, Professor of Assyriology at the University of Birmingham 1970-1993; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10247-165045. [No Reserve] Fine condition.
13th-14th century AD. A group of four glazed ceramic floor tiles from Northern France, re-set in more recent times: each tile displays a quarter of an overall design circular design comprising floral motifs punctuated by pelleted bands; set within a custom-made frame. 5 kg, 26.5 x 26.5cm (10 1/2 x 10 1/2"). Ex central London gallery; acquired on the French art market. Fine condition.
Early 16th century AD. A group of six hexagonal ceramic relief tiles with heater shield and portrait bust motifs, Burgundian workmanship. 4.9 kg total, 15-16cm (6 - 6 1/4"). Ex central London gallery; formerly with SVV Prunier, Louviers, France, 1 December 2013, lot 62. [6, No Reserve] Fine condition.
Tang Dynasty, 618-906 AD. A ceramic figure formed as a victorious guardian standing on the back of a struggling grotesque figure on an integral hollow plinth; the guard's arms and fists indicate a weapon-carrying stance, and he wears a helmet and armour plating which terminates with dragon-heads at the arms; the terrified figure beneath him is an animal-human hybrid, with large ears, protrusions on the forehead and animal's paws; red, black, green and blue painted pigmentation survives. See Prodan, M., The Art of The Tang Potter, Thames & Hudson, 1960, fig.40, for a comparable example and discussion. 29.6 kg, 1.04m (41"). From the estate of an important deceased Japanese art collector; the collection formed 1960-2010; accompanied by a positive thermoluminescence report no.41CM110520 issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10170-166758. Finely modelled. [A video of this lot is available to view on Timeline Auctions website.]
1935-1924 BC. A ceramic foundation cone with impressed cuneiform inscription recording the erection of a temple at Enisa in Mabgarum; mounted on custom-made stand with explanatory text. 350 grams total, 19cm including stand (7 1/2"). From the private collection of Antony John Scammell (1937-2019); acquired from C.J. Martin (Coins) Ltd in 1997; accompanied by a copy of the original C.J. Martin invoice and information stand. 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; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10250-166195. Fine condition.
4th-3rd millennium BC. A ceramic piriform vessel with two integral lug handles, broad neck and everted rim; painted with a series of geometric motifs between circumferential bands. 2.4 kg, 28cm wide (11"). From the important collection of Chinese art formed in Japan. [No Reserve] Fine condition.
1st-3rd century AD. A mixed group of three ceramic redware vessels comprising: one candle holder(?) with carinated body, cotton-reel shaped neck, shallow foot, ribbed strap handle, flaring rim and internal shelf; one bell-shaped beaker with tall foot and two concentric circumferential bands around the rim; one piriform vessel with flared foot, disc rim and strap handle comprising three ribs. 867 grams total, 9.3-18.5cm (3 1/2 - 7 1/4"). 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. [3] Fine condition, cup and jug repaired.
12th-13th century AD. A ceramic jug with piriform body, bell-shaped neck, round-section handle and deep foot; pained blue with black painted geometric motifs and circumferential bands; attached is a tag with a handwritten note and a fragment of paper with inked calligraphic writing which was found adhering to the base of the jug; also accompanied by a photograph of the jug sent to the Victoria and Albert Museum together with a typed and signed reply dated 1971 from the museum's keeper in the department of ceramics, describing the jug as 'probably from the Sultanabad district.' 730 grams total, 19.5cm (7 3/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market before 1971; previously found 1968 or before; accompanied by an old photograph, and letter to Mr Scammell from R. J. Charlston (keeper of department of ceramics) at the Victoria and Albert Museum concerning the piece dated 28 April 1971. 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. Fair condition.
Mid 15th-mid 16th century AD. A group of two maiolica blue and white glazed ceramic square tiles comprising: one with bust facing left within a square border, hair dressed, wearing a Christian cross pendant at the neck; one with bust facing left, cropped wavy hair, floral design on garment, clusters of dots in the field. 825 grams total, 10 x 10cm each (4 x 4"). Ex central London gallery; acquired on the UK art market in 2002. [2, No Reserve] Fine condition.
540-530 BC. A ceramic Attic black-figure fragment from a Type B amphora, attributed to the circle of The Swing Painter (Schaukel-Maler) depicting a standing figure of Eos (the Dawn, Latin Aurora) with wings spread and face turned over the right shoulder, wearing a chiton with red detailing and a red band around the head, flanked by draped male figures of two standing ephebi. Cf. Blatter, R., Neue Werke des Schaukel-Malers, AA 1969, 70, fig. 1; Böhr, E., Der Schaukelmaler (Mainz, 1982) 105, cat. no. U 10 (Umkreis des Schaukelmalers), 59 note 13, 73-74 note 532, pl. 155a; Bonhams, London, 7 July 2016, lot 17. 262 grams, 21.5cm (8 1/2"). Ex Rolf Blatter collection, Berne, Switzerland, before 1969. According to the Greek mythology this goddess, personification of the Dawn, at the end of each night arrives from the east on a chariot pulled by two horses (Faetonte and Lampo"). Homer describes her intent to open the gates of heaven for the sun to rise, dressed with a saffron-coloured robe embroidered or woven with flowers, with rosy fingers and golden arms. She is depicted in Greek ceramics as a beautiful woman, crowned with a tiara or diadem on the head and with large bird wings. Eos, during a walk in the city of Troy, glimpsed Tito, a young man of extraordinary beauty and real blood. So one day she kidnapped him bringing him to Aethiopia. From their union were born two sons, Emation and Memnon, the latter, prince of Ethiopians, killed by Achilles in the Trojan War. Since that day, every morning Eos inconsolably weeps for his own son and his tears form the dew. Fine condition, repaired.
Tang Dynasty, 618-906 AD. A group of ceramic figures comprising: one standing female dancer, one arm raised above her head, the other by her side, wearing a floor-length robe with long sleeves, her hair dressed in a bun; a male figure standing on an integral base, head turned to his right, arms held against chest, hands clasped together, wearing a tunic, boots and a cap; red, green and black painted pigment surviving on both figures. 990 grams total, 28.5cm each (11 1/4"). From the collection of an American lady living in London; acquired before 2000. There is a long recorded history of various forms of dance in China. Some Chinese dances today, such as dancing with long sleeves have been recorded since the very early periods, dating from at least as early as the Zhou Dynasty. The most important dances of the early period were the ritual and ceremonial music and dances called yayue, and these dances were performed at the imperial court until the Qing dynasty, but only survive today as performances in Confucian ceremonies. The art of dance reached a peak in the Tang Dynasty, and the dances of the period were highly diverse and cosmopolitan, dances from Central Asia in particular were popular. A great number of dances were recorded in the Tang dynasty, for example there are over sixty Grand Compositions alone which are large scale performances from the Tang court, and there were tens of thousands of musicians and dancers at the Imperial palaces. The art of dance however declined after the Tang dynasty. This is due in part to the increasing popularity of the practice of footbinding, which may have first arisen from dancers themselves, but later tighter binding limited their movements, and greater social restriction placed on women may have also led to a virtual elimination of female dancers. [2] Finely modelled, observer head repaired.
26th-19th century BC. A group of five ceramic stamp seals, each with a profile image of a bull with an inscription above. See The Metropolitan Museum of Art, accession number 49.40.1, for similar. 21.6 grams, 33mm (1 1/4"). Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection. [5] Fair condition, one repaired.
Tang Dynasty, 618-906 AD. A ceramic figure formed as a walking horse, saddled, head to one side, whinnying; ears erect, wide eyes beneath raised brows, cropped mane, open mouth, short dressed tail; musculature suggested by depressed lines of varying depths; suggestion of hair around the mouth; black, pink, red and grey painted pigmentation survives. See Thorp, R., Son of Heaven: Imperial Arts of China, Seattle, 1988. 13.8 kg, 68cm (26 3/4"). From a 1970s west country collection, latterly in a London collection; accompanied by a positive thermoluminescence report issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10173-166766. The Tang dynasty, with its capital at Chang'an, the most populous city in the world at the time, is regarded by historians as a high point in Chinese civilization - equal, or even superior, to the Han period. The Tang period was considered the golden age of literature and art. Stimulated by contact with India and the Middle East, the empire saw a flowering of creativity in many fields. At its peak, the Tang empire stretched from the Caspian Sea to the Pacific, from Manchuria and Korea in the north into Vietnam in the south. Within the country, commerce and cultural ideas thrived and spread through trade to Europe and even the court at Byzantium. Tang China was cosmopolitan and tolerant, welcoming new ideas and other religions. Within this environment, literature, painting, and the ceramic arts flourished. With a history reaching back to before the third century BC, tomb figures and furnishings were an important aspect of the Chinese culture. They also constituted a sizable amount of the ceramics produced during the Tang dynasty. Even in death, members of the wealthy, cosmopolitan Tang society sought to surround themselves with replicas of the splendid riches they had enjoyed during life. These objects were buried in tombs to provide for the needs of the deceased in the afterlife. Preparations for the tomb, which usually began well in advance of death, included the purchase of literally hundreds of pottery ming qi, or 'articles of the spirit,' such as figures of servants, musicians, and professional attendants; models of domestic and foreign animals; guardian spirits; and vessels from everyday life. The tomb furnishings that have survived are important social and cultural documents of the history of life during the Tang period. Finely modelled. [A video of this lot is available to view on Timeline Auctions website.]
1st-5th century AD. A group of ceramic human and animal heads; one face of a lion with wrinkled nose, wide eyes, ears and detailing to the mane; one head with hair dressed in distinctive swirls around recessed urna, prominent lentoid eyes with heavy lids and full pursed lips; one head with hair dressed in a series of textured ridges and a smile beneath a bulbous nose; a head surmounted by a diadem, straight nose and full lips; an oval head with elongated earlobes, recessed urna, raised eyebrows and pinched lips and dished chin; a head with elaborate turban featuring a series of discoid panels. 6.4 kg total, 13.5-18cm (5 1/4 - 7"). Property of a North London gentleman; acquired in London prior to 2000; previously in a 1970s collection. [6] Fair condition.
2000-1600 BC. A ceramic pillow-shaped tablet containing an impressed multiplication table for 18 to one face, accompanied by a copy of a handwritten scholarly note which states: 'M. Multiplication Table. 104mm x 43mm. Old Babylonian Period, Ca. 2000-1600 BC. A multiplication table for 18, running from factors 1 to 20 then for 30, 40, and 50. In the Babylonian sexagesimal numbering system this represents all that one needs to calculate any multiple up to factors of the base, 60.' 130 grams, 10.4cm (4"). Ex central London gallery; acquired on the UK art market in 1998; formerly from an old London collection; accompanied by a copy of a re-written and unsigned scholarly note, the original believed written by the late W.G. Lambert, Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s, Professor of Assyriology at the University of Birmingham, 1970-1993; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10258-166489. [No Reserve] Very fine condition.
Tang Dynasty, 618-906 AD. A ceramic figure of a horse on a rectangular base, standing with head turned, detailed modelling to the saddle and painted harness. 10.8 kg, 59cm height (23 1/4"). From the Cheuk family collection, Hong Kong, in the 1980s; by descent, London collection, 2012-2015; accompanied by copy of an Oxford Authentication thermoluminescence analysis report no.C118c66; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10176-164991. Finely modelled.
3rd millennium BC. A ceramic jar of piriform profile with broad neck and everted rim, two strap handles to the equator; the upper body, shoulder and neck with ochre colouration, painted design of chevron motifs between plain bands, zigzags to the neck. 2.1 kg, 33.5cm (13 1/4"). From a west country collection in the 1990s; previously in a Hong Kong collection. Fine condition.
Han Dynasty, 206 BC-220 AD. A ceramic female figure modelled kneeling, hands held within voluminous sleeves in front of the torso and face; the figure wears a long robe, hair tied in a low knot down the back; painted red pigmentation survives. 6.5 kg, 43cm (17"). From the deceased estate of an important Japanese art collector; the collection formed 1960-2010. [No Reserve] Fine condition.
12th-14th century AD. A ceramic bowl with hemispherical body and deep pedestal foot; interior with triangular panels radiating from the centre, each enclosing a foliate design and geometric or other organic motifs; interior painted blue and black; painted rim; series of painted black lines on the outer face, glazed white; iridescence all over. 379 grams, 19cm (7 1/2"). From the collection of an American lady living in London; acquired before 2000. Fine condition.
1st-3rd century AD. A mixed group of four ceramic vessels, comprising: a piriform vessel with shallow foot, broad neck and flat rim flanked by two handles; a biconvex vessel with circumferential ribs, cylindrical neck, disc rim and strap handle with ribs; a carinated piriform vessel with a series of raised circumferential ribs, flared rim and strap handle; a biconvex vessel with flared foot, cylindrical neck, rolled rim and strap handle. 1.4 kg total, 13-20.5cm (5 - 8"). 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. [4] Fine condition.
Tang Dynasty, 618-906 AD. A ceramic figure modelled standing on a crescent-shaped base; the guard wears an aggressive facial expression- his eyebrows are raised, eyes wide open, nostrils flared and teeth bared; he wears a domed helmet with spike and lateral flaps, pauldrons, segmented cuirass and skirt; right hand placed on the hip and left hand extended to grip a spear or pole-arm; black, red and yellow pigmentation survives. 7.5 kg, 68.5cm (27"). From a west country collection in the 1990s; previously in a Hong Kong collection; accompanied by a copy of a thermoluminescence test report issued by Laboratory Kotalla of Germany, report number 40CM110520. Finely modelled.
Tang Dynasty, 618-906 AD. A mixed group of five hollow-formed ceramic figures modelled as robed musicians and dancers, standing on integral bases; each musician plays a different wind or string instrument, while the dancers adopt mirroring poses; blue, black, red and green painted pigment survives. See Michaelson, C., Gilded Dragons. Buried Treasures from China's Golden Ages, British Museum Press, 1999, for discussion and comparable Tang ceramic figures. 3.8 kg total, 22-24.5cm (8 3/4 - 9 3/4"). From a London, UK, collection; formerly in a West Country collection, Bath, UK, 1970s-1990s; accompanied by a copy of a positive thermoluminescence report issued by Oxford Authentication, no.C115a71, for one of the figures; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10171-166778. [5] Finely modelled. [A video of this lot is available to view on Timeline Auctions website.]
Tang Dynasty, 618-906 AD. A hollow-formed ceramic figure of a guard standing on the shoulders of a grotesque figure kneeling on an integral base; the guard is modelled in an aggressive bodily stance, wears a fierce facial expression, a fiery headpiece crowned by a phoenix, and armour plating with dragon-head terminals at the shoulders; red, blue, green and black pigmentation survives. 4.4 kg, 63cm (24 3/4"). From a west country collection in the 1990s; previously in a Hong Kong collection; accompanied by a copy of a thermoluminescence test report issued by Laboratory Kotalla of Germany, report number 43CM110520. Finely modelled.
Tang Dynasty, 618-906 AD. A finely modelled hollow-formed ceramic figurine of a horse and rider; the horse standing on a rectangular base with neck bent and head turned, wide eyes, ears pricked and mouth open, painted facial details and bridle and harness detailing in red, moulded saddle; the male rider wearing a riding jacket with tight sleeves and riding boots, riding cap to the head, hands raised to the waist to hold the reins. See Prodan, M., The Art of The T'ang Potter, Thames and Hudson, 1960, for discussion and comparable examples. 5.7 kg, 53cm (21"). From a 1970s West Country collection, latterly in a London collection; accompanied by a positive thermoluminescence report issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10172-166765. Finely modelled. [A video of this lot is available to view on Timeline Auctions website.]
Late 4th-2nd millennium BC. A ceramic storage vessel with piriform body, everted rim, two integral lug handles and flat base; upper body painted with a series of geometric motifs, including chevrons, concentric circles with hatched infill, chevrons between, circumferential band and scalloped motif below. 3.6 kg, 40cm (15 3/4"). From the important collection of Chinese art formed in Japan. [No Reserve] Fine condition, rim chipped.
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