Late Period, 664-332 BC. A ceramic mould for the production of a rectangular amulet with two suspension loops, frieze of three deities in profile; with a modern cast from the mould. 16 grams total, 37mm (1 1/2"). Ex Michael Nellist collection, Cornwall, UK; acquired from Charles Ede in 2006, Egyptian Antiquities catalogue, item no.33a; accompanied by a copy of the catalogue; previously in the Mustaki collection. The Mike Nellist Collection. His interest in antiquity was piqued when, during the 1970s, he spent some time working in Israel and had the opportunity to visit Roman-period locations including Lake Galilee and Masada, the site of the famous Judaean revolt and subsequent massacre. He made his first purchases at that time and was soon building an enviable collection of artefacts. While at university, he was able to study human remains at first hand in conjunction with archaeological research and from there his passion for the human aspects of historical research was kindled. Now retired, Mike indulges one of his other passions – wildlife and nature photography. Fine condition.
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12th century AD. A ceramic jug with bulbous body and narrow stepped neck, chamfered rim to the mouth; bands of applied and scored zigzags with roundels between, two pairs of opposed animals each with long neck and rump. 2.6 kg, 36cm (14 1/4"). Acquired on the London art market in 2001. Fine condition.
Naqada II Period, 3650-3300 BC. A ceramic polished red ware jar with rolled rim, short neck and globular body with small flat base. For a similar example from Hierakonpolis see The Metropolitan Museum, accession number 36.1.16.800 grams, 19cm (7 1/2"). Property of a Mayfair gentleman; acquired on the UK art market Fine condition.
16th-17th century AD. A glazed ceramic apothecary's jar with waisted profile, polychrome design with floral swags and a heraldic(?) panel with putto above; accompanied by a Victoria and Albert Museum, London, letter dated 24 October 1951 and a photograph. 1.2 kg, 28cm (11"). Property of a Kent collector; by inheritance 1970; formerly property of Jack Smith, antiquarian and collector of Hebden Bridge, Yorkshire, UK, acquired 1920s-1960s. Fair condition, repaired.
5th-4th century BC. A ceramic pelike vessel with flared rim, vertical handles, globular body decorated to one side with a seated male with female behind holding a wreath and mirror above an altar; to the other side a pair of youths facing each other wearing cloaks, one holding a staff; acanthus leaf patterns below the handles; olive wreath border to the neck. 2.01 kg, 32.5cm (12 3/4"). From a North country collection; acquired in the 1980s. [A video of this lot is available on the TimeLine Auctions website] Fine condition, some restoration.
7th-6th century BC. A large square ceramic slab with recessed square central panel divided into ten rectangular zones each with impressed Babylonian cuneiform text; bitumen to the back and sides. 9.1 kg, 31.5cm (12 1/2"). Property of an American gentleman; previously acquired 1970s-1980s. A number of these building bricks have been found at the city of Babylon, the majority of them bearing the name of Nebuchadnezzar II, king of Babylon from 604-562 BC. Nebuchadnezzar was renowned for his military prowess, but also for his building projects at Babylon, which transformed the city into one of the most magnificent of the ancient world. Among his most prestigious projects were the Gates of Ishtar, the Hanging Gardens, and the renovation of the temple of Marduk, known from the Bible as the Tower of Babel. This brick would have come from one of the buildings embellished by Nebuchadnezzar, the inscription proclaiming his achievements to the gods and people. Fine condition, corner chipped.
Ur III, 22nd - 21st century BC. A plano-convex ceramic block with incised cuneiform text to the flat underside and part of the domed upper. 131 grams, 67mm (2 3/4"). Property of a London gentleman; previously in the collection of the late Professor Geoffrey Wilson, Warwickshire, UK. Fine condition.
2nd millennium BC. A mixed group of ceramic statuettes comprising: two females each holding a drinking vessel to the midriff; a robed male with tent weight in his left hand; a male with crescentic musical instrument(?); three on custom-made stands. 1.5 kg total, 13.5-20cm (5 1/4 - 8"). Property of a Mayfair gentleman; collected from 1966-2017.[4] Very fine condition.
2nd millennium BC. A ceramic jar with squat body, narrow base, short neck and flared rim; band of black painted decoration to the shoulder, geometric panels with starbursts between. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology vol.2, New Delhi, 1994 for discussion.1 kg, 24cm (9 1/2"). Property of a Mayfair gentleman; collected 1966-2017. Fine condition.
3rd millennium BC. A very large ceramic vessel of the Nal culture with polychrome decoration consisting of alternating panels of two bulls and two lions, panels between with geometric motifs; band of oblique line to the rim, repeating interlocking key pattern to the shoulder. See Satyawardi, S. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi, 1994 for discussion.9.88 kg, 34cm (13 1/2"). English private collection; acquired in the 1970s. [A video of this lot is available on the TimeLine Auctions website] Fine condition.
3rd millennium BC. A large ceramic Nal culture storage jar with polychrome decoration of interlocking key pattern to the rim; body decorated with two fish in a panel, standing bull with roundels to anpther panel; panels between of geometric maze pattern. See Satyawadi, N. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs New Delhi, 1994 for discussion.2.19 kg, 22cm (8 1/2"). English private collection; acquired in the 1970s. [A video of this lot is available on the TimeLine Auctions website] Fine condition.
16th-17th century AD. A broad ceramic bowl with beige and yellow glaze, and panels of geometric design and triangles in a brown pigment, inscription to the centre; outside painted with roundels. 572 grams, 23.5cm (9 1/4"). From an important private London collection; formed in the 1970s and 1980s. Fine condition, restored.
Tang Dynasty, 618-907 AD. A large ceramic figure of a plump courtly lady with elaborate hairstyle pulled up into buns at the top and side of head; wearing long robes, hands at chest holding small figure of a dog; curled shoes ending in lotus flowers; pigment to the face, hair robes and dog. 4.02 kg, 48.5cm (19"). Property of a London gentleman; acquired before 1995, accompanied by thermoluminescence test. [A video of this lot is available on the TimeLine Auctions website] Finely modelled.
Tang Dynasty, 618-907 AD. A ceramic figure of a horse with harness to the head, tuft of mane pulled up on the top of the head; large tassel to the front of the neck, collar below with series of seven large tassels; large saddle cloth to the back with painted details; standing on a rectangular base. 2.32 kg, 35cm (13 3/4"). From the Cheuk family collection; acquired in the 1970s. [A video of this lot is available on the TimeLine Auctions website] Finely modelled.
Han Dynasty, 206 BC-220 AD. A group of three ceramic tomb figures representing female musicians; each is shown kneeling and wearing long sleeved robes painted in red to the upper part and with a black belt across the middle; each has their hair pulled up into a flat bun on the top of the head; one figure holds a guzheng, another a cymbal and another a pot-shaped wind instrument. 1.68 kg total, 17.5cm (7"). Property of a London gentleman; acquired before 1995; accompanied by a thermoluminescence test for one of the three musicians [3] Finely modelled.
Tang Dynasty, 618-907 AD. A ceramic pair of figures depicting dancers with hair pulled up into a bun at the top of the head, head turned to one side, body bent at the waist; wearing long robes with long sleeves covering the hands, one arm held up; shoes with elaborate turned ends; white pigment to the face, red and green pigment to the robes; standing on a square base. 1.77 kg, 28cm (11"). From the Cheuk family collection; acquired before 1990.[2] Finely modelled.
Tang Dynasty, 618-906 AD. A ceramic figure of a horse and rider; figure of male wearing a tunic and peaked headdress; horse with head turned slightly to the left, right leg raised and small tail to the rear; red pigment to tunic. 2.40 kg, 39.5cm (11 1/2"). Property of an American gentleman; acquired 1970s-1990s. Finely modelled.
Tang Dynasty, 618-907 AD. A ceramic figurine of a horse and female rider on a rectangular base; the horse advancing with one foreleg raised, tail extended; the rider in courtly dress with long sleeves covering the hands, piled hairstyle; hollow to the underside. 2.7 kg, 41cm (16 1/4"). Property of an American gentleman; acquired 1970s-1990s.[No Reserve] Finely modelled, repaired.
Tang Dynasty, 618-907 AD. A large ceramic figure of a standing horse, head held up and mouth slightly open, mane brushed forward over the top of eyes; hollow to the underside; separate saddle cloth and saddle with red pigment to the back. 4 kg total, 44cm (17 1/4"). Property of an American gentleman; acquired 1970s-1990s.[No Reserve] Finely modelled, repaired.
Han Dynasty, 206 BC - 220 AD. A large ceramic figure of a male with hair parted and pulled back to a bun; wearing long robes and trousers; arms crossed over stomach with voluminous sleeves. 1.40 kg, 40cm (15 3/4"). Property of an American gentleman; acquired 1970s-1990s.[No Reserve] Fair condition.
Tang Dynasty, 618-906 AD. A matched pair of hollow ceramic cockerel figures, each standing on a square base; red, yellow and cyan pigment. 5.6 kg, 38cm (15"). Private collection, North London; acquired in the early 1990s. Supplied with a thermoluminescence test certificate.[2] Finely modelled.
Han Dynasty, 206-220 AD. A large ceramic square section Fang Hu wine vessel, square foot supporting a bulging rounded body with a short square neck and slightly flared mouth, small pierced handles to the side with animal masks to the top. 8.89 kg, 46.5cm (18 1/4"). From the Cheuk family collection; acquired in the 1980s. Fine condition.
10th-11th century AD. A ceramic bowl with slightly flared rim, decorated to the inside with a large guinea fowl in ochre colours with tail raised and large eye, foliage to the beak; to the background a series of circle and dots; to the outside three ovals with dots and lines with diagonal dashes of pigment between; to the underside Arabic inscription, possibly a makers mark. 355 grams, 20cm (8"). Private collection, South West London; acquired before 2000. Fine condition, repaired.
12th-13th century AD. A ceramic bowl with glazed decoration of a large bird to the centre with crest and legs bent under body, to the background rosettes and bunches of grapes; border of geometric patterns. 476 grams, 19.5cm (7 3/4"). Acquired on the London art market before 2000. Fair condition, repaired.
Neolithic, 6th-4th millennium BC. A ceramic figurine of a standing male with prominent horned headdress and nose, stub arms extended, incised detail to face and body. See Villes, A & Luci, K. Dieux des Balkans. Figurines Néolithiques du Kosovo, Paris, 2015 for discussion.274 grams, 15cm (6"). From an old European collection; acquired in Munich in the 1970s. Fine condition. Rare.
A TERRACOTTA HANDBUILT, CARVED, BURNISHED AND SMOKE FIRED VESSEL the flaring neck and globular body with incised insect design applied with bosses, signed and dated 2017 to the underside 55cm high 55cm high Madoda Fani has shot to success with his exquisitely burnished and incised low-fired ceramic vessels that have been exhibited and acclaimed internationally. Drawing on inherited techniques and methods practiced in southern Africa for millennia, the artist skillfully uses iron rich clays, hand-coiling, pit-firing and burnishing techniques. He diverges from the past however, with new forms and meticulous embellishments that are carved or applied onto the leather-hard surface of the vessel. Entomology and more recently femininity are the sources of inspiration for his recent work. Madoda Fani initially had training in his birthplace of Cape Town and continued in Johannesburg under Kim Sacks. The artist has received government support enabling him to travel, and in 2000 he was a prize winner at Le Salon International de l’Artisanat de Ouagadougou in Burkina Faso.-Carol Kaufmann
A GEORGE III MAHOGANY WASHSTAND the moulded square top centred by a circular aperture flanked by two smaller apertures, an open compartment below above a frieze drawer, on square-section supports joined by side-stretchers, the ceramic bowls, en suite79cm high, 35cm wide, 35cm deepPROVENANCEThe Craig Troeberg Collection (6)
A LARGE CERAMIC PAINTED 'NAMAQUALAND' PANEL, ESIAS BOSCH (1923 - 2010) rectangular, depicting the landscape in bloom124 by 159,9cmEsias Bosch studied at the University of Witwatersrand and at the Johannesburg School of Art before winning a three year scholarship to study ceramics in Britain. Returning to South Africa he was a pioneer of studio pottery at his Die Randjie studio. In particular, his large panels and tiles are fascinating and impressive works of art. Inspiration to produce these came from seeing the Keramion Museum, Germany clad in large Buchtal tiles. Esias managed to import some of these, however they were glazed and using an anglegrinder he ground the glaze off in order to experiment in his studio. Rebuilding his kiln to fit these items, he worked with lustre tiles and then eventually experimented with clay tiles built up in layers and decorated with ceramic stains and glazed, which give the illusion of depth and a painterly like quality. Examples of both were housed in buildings such as the Vineyard Hotel, Cape Town, Wesbank Building, Braamfontein and in the old departure hall of what is now Oliver Tambo Airport. Evidence of his inspiration by Claude Monetand Pierre Bonnard, can be seen in the themes chosen for his panel and tile pieces. His exhibition of large tiles in 1983 in Hanover catapulted him to success.- Sophie-Louise FrohlichBosch, A. & de Waal. J. Esias Bosch Struik, Winchester, 1988
A Chinese, glass snuff bottle with snuff scoop, the exterior of the clear glass bottle reveals painted scenes within depicting an elephant, monkey and figure in battle, the reverse having a series of black, Chinese character marks. Blue glazed ceramic and metal mounted screw lid with snuff scoop attached. 9.5 x 4.5 cm.
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