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Lot 50
A SILVER OBLONG INKSTAND JOHN GRINSELL & SONS, BIRMINGHAM 1911 With a reeded border, two pen trays, an oval hinged compartment, engraved 'Srinagar 1923 Tennis Ladies Singles H. H. Horn', with two cut glass bottles with silver mounts, on four ball feet 26cm (10 1/4in) long 646g (20.8 oz) weighable Condition Report: Marks generally clearWobblesEngraving crispOne nut missing beneathHinges goodOne bottle with a ceramic inkwell that is stuck, so cover does not closeLight scratches and wear commensurate with age and useCondition Report Disclaimer
Lot 134
FIVE ITEMS, to include a red glass scent bottle with a silver embossed, hinged cover, hallmarked 'GM' Birmingham 1893, with stopper, a clear cut glass scent bottle fitted with an embossed silver hinged cover, hallmarked 'M.Bros' Birmingham 1896, with stopper, a small circular cut glass scent bottle with screw on white metal cover, a silver pill box with a painted ceramic topped cover, hallmarked 'S A B' London, together with a white metal atomiser bottle, hallmarked London import (condition report: general wear, no visible damage to the glass bottles)
Lot 415
FOUR BOXES OF CERAMICS AND COLOURED GLASSWARE, to include a 'Nut Brown' rolling pin, Alessi oil and vinegar set, three mid-century red ornamental 'Brandy Glasses' with a ceramic cat and mouse figures, stoneware flagons, a green glass bon-bon dish with a control bubble stand, a 19th century cut crystal obelisk, vintage 'Pepsi-Cola' bottle, a matt black Beswick 'Black Beauty' horse figure, a Royal Doulton 'Spirit of the wind' horse figure supported by a wooden plinth, a Royal Worcester 'Sweet Dreams' figurine, four Bossons chalk head wall plaques, a small West German vase, two Beswick character jugs 'Scrooge' 372 and 'Micawber' 310, a 'John Barleycorn' jug, a collection of Fortnum & Mason lidded pots, etc. (s.d) (4 boxes + loose)
Lot 442
THREE BOXES AND LOOSE LIGHT FITTINGS, HANDBAGS, PICTURES AND SUNDRY ITEMS, to include several brass ceiling and wall light fittings, a ceramic bodied table lamp, a quantity of small lamp shades, five framed prints, largest frame approximately 44.5cm x 36.5cm, handbags by Tula, Domo and Debenhams, a jewellery stand mirror, a wicker basket, rope, decorative canvases and wall art, etc (3 boxes + loose) (sd)
Lot 554
THREE BOXES AND LOOSE SUNDRY ITEMS ETC, to include Royal Commemorative mugs, boxed car sun blinds, Black & Decker rechargeable screwdriver, LG KP500 mobile phone, Salter 200lb scales, Boots 8x30 binoculars, retro style lamp, table lamp, ceramic soup mugs, storage jars, Malibu fishing seat box fitted with Octopus legs, contents include readymade pole rigs, empty pole winders, fishing line hooks etc (3 boxes)
Lot 384
A 19TH CENTURY RALPH WOOD TYPE TOBY JUG, with lid formed of the top of the tricorn hat, painted and sponge decorated, height 25cm, together with four tin glaze tiles and a ceramic bird whistle, s.d, height 8cm (6) (Condition Report: toby is in reasonable order, tiles have chips to edges, whistle has chips to beak and tail)
Lot 557
TWO BOXES OF CERAMICS, to include a blue and white hand painted Turkish charger, blue and white 'Willow' pattern chamber pot, a boxed set of two 'Krafty Kiwis Ltd.' ceramic coasters and a cruet set, a pair of Staffordshire style rabbits, two blackbird pie funnels, a set of six hand painted porcelain dessert plates, etc. (s.d) (2 boxes)
Lot 78
A glazed ceramic vessel featuring multi colored glazes forming run and crackle. Signed HN, Noke, and Chang to bottom. Royal Doulton backstamp. Artist: Charles Noke & Harry NixonIssued: c. 1920sDimensions: 4.5"W x 10"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 310
The Century Collection; third Hummel figure in that collection. Ceramic; hand painted. Young children in a clock tower. M. I. Hummel impressed backstamp. Goebel backstamp. Certificate of Authenticity included. Issued: 1988Dimensions: 6.5"L x 5.5"W x 13.5"HManufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.
Lot 413
Ca. 3rd Millennium BC.A pair of cream-coloured ceramic figurines of zebu bulls captures attention with their striking features. Each figurine is adorned with painted stripes on the back and shoulders, as well as on the exaggerated crescent horns. Within the cultural context of the Indus Valley, the zebu bull holds significant symbolism and serves as a recurring motif. These figurines may represent leaders of herds, embodying their ability to protect and guide their followers. Additionally, they could reflect the importance of bulls in religious sacrifices, further highlighting their revered status within ancient society. For a similar, please see The Dallas Museum of Art, Accession Number: 2009.14. Size: L:50-65mm / W:70-85mm ; 125g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Lot 295
Ca. 800-1000 AD.A ceramic grenade also referred to as 'Greek Fire'. This hollow ceramic vessel consists of a piriform body, with a short neck and a domed rim. The body is decorated with central register of engraved decoration. 'Greek Fire' was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water. Size: L:110mm / W:95mm ; 530g Provenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.
Lot 47
Ca. 618-907 AD. A ceramic figure known as the 'Fat Lady.' Crafted with meticulous attention to detail, this figure stands with a graceful pose, her curvaceous body elegantly swayed to the side. Resting upon an integral flat base, she is adorned in a flowing, long robe that drapes softly around her form. Delicate hands, raised in a poised gesture, hold a small bird, capturing the viewer's curiosity. The lady's countenance exudes a sense of serenity and inner tranquility. Her face, delicately painted, features rouged cheeks that enhance her complexion, while her black eyebrows add definition to her expression. A lavish coiffure frames her face, meticulously arranged to accentuate her beauty. Traces of colored pigment on the robe, face, and hair provide glimpses into the vibrant palette that once adorned this masterpiece. These remnants serve as a testament to the Tang Dynasty's penchant for vivid and opulent aesthetics, where color played a significant role in elevating the visual impact of artworks. These sculptures were created as mingqi, burial objects meant to accompany the deceased in the afterlife. Symbolically, the presence of these figurines served to convey the wealth, abundance, and prosperity of the deceased in the spiritual realm. Their voluptuous bodies represented the ideals of beauty and fertility, emphasizing the aspiration for a prosperous and fruitful afterlife. Moreover, the popularity of the 'Fat Lady' figurines reflects a broader cultural shift in the perception of feminine beauty during the Tang Dynasty. This era witnessed a departure from the slender aesthetic that had prevailed in earlier periods, embracing a new ideal that celebrated fuller, more buxom figures. The 'Fat Lady' figurines became visual manifestations of this evolving beauty standard, embodying the grace and allure of women with more generous proportions. Size: L:490mm / W:170mm ; 4.22kg Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 340
Ca. 800-1000 AD.A ceramic hollow vessel, with its distinctive acorn-shaped body, raised mouth, and domed rim. The vessel's smooth body, devoid of decorative elements, highlights the simplicity and functionality of its design. In Byzantine warfare, 'Greek fire' was a fearsome incendiary weapon renowned for its destructive capabilities. The vessel would be filled with a potent mixture of flammable substances, such as petroleum, resin, and other secret ingredients, which created a highly combustible concoction. During the battle, these grenades would be hurled at enemy forces or vessels, and upon impact, the vessel would shatter, dispersing the volatile contents and engulfing the target in a devastating inferno. The acorn-shaped form of the vessel likely aided in its aerodynamic trajectory, allowing for accurate and effective deployment. This vessel's utilitarian design and deadly purpose reflect the strategic sophistication and technological advancements of the Byzantine Empire in its pursuit of military supremacy. Size: L:80mm / W:100mm ; 435g Provenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.
Lot 210
Ca. 5th century AD.A black-glaze lekythos displays a roundish body that rests upon a ring base, providing stability and balance to the vessel. Notably, the shoulder of the lekythos is adorned with vertical incisions, which create a visually captivating effect by adding texture and depth to the surface. The lekythos features a protruding neck that gracefully transitions into a tulip-shaped mouth. This distinctive form not only contributes to the vessel's aesthetic appeal but also serves a functional purpose by allowing controlled pouring of liquids. Adding to its allure, an arched handle rises from the shoulder and seamlessly joins the neck, providing an ergonomic grip for the user. To enhance its appearance, the entire surface of the lekythos is coated with a rich black glaze. This glaze lends the vessel a sleek and polished appearance, while also providing a protective layer to the underlying ceramic material. The black glaze contributes to the vessel's elegance and serves as a canvas for decorative elements. Lekythoi were a prevalent type of ceramic vessel in ancient Greece, valued for their versatility and practicality. These vessels served various functions, including both utilitarian and ceremonial roles. Lekythoi were commonly used as containers for oils, perfumes, or other liquids, making them essential in daily life for storing and pouring such substances. Additionally, they played a significant role in funerary practices, where they were used to hold oils and perfumes for anointing the deceased during burial rituals. For a similar, see Princeton University Art Museum, Object number y1937-256. Size: L:100mm / W:50mm ; 55g Provenance: Property of a London Ancient Art gallery, formerly English private collection, according to the heirs possibly purchased in some auction or Art Gallery during 1970s-1980s.
Lot 307
Ca. 800-1000 AD.A ceramic hollow vessel featuring a domed spout for filling. A decorative register of punched etchings runs through the upper section of the vessel, showcasing the intricacy and attention to detail of Byzantine artisans. These hollow vessels were designed to be used as hand grenades, filled with flammable or explosive material, and hurled at enemy targets. The pointed base allowed for easy handling and accurate throwing. The use of these vessels in Byzantine warfare was a key component of their military strategy, allowing them to inflict significant damage on their opponents. Size: L:80mm / W:100mm ; 470g Provenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.
Lot 1
Ancient Greece, Attic (Athens), ca. 5th century BC.An astounding terracotta column krater finely decorated with black-figure scenes of a mythological processions for animal sacrifices featuring Dionysus, Hermes, and Persephone, all with incised detailing and fugitive white pigments. Side A shows Hermes, the psychopomp and protector of travelers, dressed traditionally in winged shoes and a petasos or wide-brimmed cap, as he leads an ox to slaughter. The animal walks alongside Persephone, queen of the underworld, who was periodically led up from Hades by Hermes. The goddess wears a diadem and holds a flower bud, a symbol of her status as a vegetation deity. Bearded Dionysus, the god of wine, stands to the right, holding out a kantharos, a vessel for wine drinking. Alternatively, side B displays a pair of nude satyrs, depicted with the bodies of men and ears and tails of horses, surrounding Dionysus who again holds a kantharos, but this time stands beside a goat. In addition to this marvelous iconography, the artist included an impressive decorative program. Each panel is framed by a pair of ivy vine motifs travelling up the sides with a tongued pattern above and a design of hanging lotus buds below. Another band of ivy vine encircles the rim while 2 palmettes adorn the tops of the handles. Used for mixing wine and water at a symposium, the form and imagery of the column krater combine to communicate strong messages on the relation of sacrifice, vegetation, regeneration, and the euphoric nature of wine. Persephone - queen of the underworld, daughter of Zeus and the harvest goddess Demeter, and wife of Hades - is associated with spring as the vegetation goddess. Furthermore, Persephone and her mother Demeter were central figures in the Eleusinian mysteries. These were elaborate festivals that took place every five years. Unfortunately, scholars know little about them as those who attended the Eleusinian Mysteries were sworn to secrecy. This said, most agree that the central theme of these Mysteries was that just as the grain returns every spring following its harvest and the winter hibernatory period, the soul returns after the death of the human body, reincarnated for the next life. The Eleusinian Mysteries were not the only Mysteries of the Greco-Roman world. There were also the Mysteries of Dionysos depicted in a famous fresco just outside Pompeii at Herculaneaum (the so-called Villa of the Mysteries) as well as Mysteries of various imported eastern gods such as Sabazios and Isis. Virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Ancient Athenian painters, including the painter of this vessel, took advantage of the large size of Attic vases which gave them more room to explore their techniques, overlap figures, present complex interactions between figures, create depth and attempt renderings of perspective. This piece has been tested using thermoluminescence (TL) analysis by Laboratory Kotalla and has been found to be ancient and of the period stated. A printed report from November 16th, 2015 is available to the buyer upon request. Professionally repaired with restoration and areas of repainting with figures liberally enhanced. Some minor chips to rim, as well as expected surface wear, commensurate with age. Otherwise, vessel has an excellent presentation with strong imagery and nicely preserved detail and pigments. Arte Primitivo collection label on interior. TL holes under handle and top rim. Size: L:320mm / W:380mm ; 4.4kg Provenance: Property of a London Ancient Art gallery, formerly East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010.
Lot 246
Ca. 200-100 BC.A pottery unguentarium with its spindle form body is elegantly shaped, with a stem foot and flared base that provide stability and balance to the vessel. The tubular neck of the vessel is also beautifully proportioned and terminates in a circular opening with an everted rim, which not only adds to the beauty of the piece but also facilitates easy pouring and application of the contents. The upper half of the unguentarium is covered with a lustrous black slip, which creates a striking contrast with the natural clay body of the vessel. The black slip is expertly applied to the vessel's surface, highlighting the intricate details of its form and creating a beautiful visual effect. This unguentarium is a stunning example of Hellenistic ceramic production, displaying the remarkable technical proficiency of the period's artisans. Size: L:95mm / W:40mm ; 110g Provenance: Private London collection, B.A.; formerly in pre-2000 European collection.
Lot 189
Ca. 400-300 BC.A black glazed mug featuring an elegant inverted pear-shaped body with incised vertical grooves around the body. The mug has a short cylindrical neck leading to an everted rim and is equipped with a convenient side loop for easy handling. The base of the mug is covered with the same lustrous black glaze that graces the entire surface of the vessel. This mug is a fine example of the exquisite craftsmanship and attention to detail that characterizes Apulian ceramic production. The Apulian region in southern Italy was renowned in antiquity for its thriving pottery industry, which produced some of the most elegant and sophisticated ceramics of the ancient Mediterranean world. The black glaze on this mug is typical of Apulian pottery, and the incised vertical grooves add a touch of refinement to the overall design. Mugs like this one were likely used for drinking wine or other beverages during social occasions or banquets. The elegant shape and beautiful black glaze would have made this mug a desirable and fashionable item among the elites of ancient Apulia. For a similar, see The Metropolitan Museum of Art, Accession Number: 1983.571.4. Size: L:85mm / W:80mm ; 115g Provenance: Private London collection, B.A.; formerly in pre-2000 European collection.
Lot 330
A mixed collection of ceramic items to include Crown Devon vintage coffee and biscuit storage jars, Wade pub advertising jug and ashtray, large ceramic continental fruit arragement together with Three Coalport plane theme plates & A collection of wall plates to include Wedgwood, Spode and Aynsley examples (2 trays)
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163691 item(s)/page