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Lot 165
Two scarce and collectable late 1940s Horrockses cotton sun dresses in yellow, both having CC41 utility labels, both around medium sizes. Both in good, strong, wearable condition. slight even fade to both,neat mend to back of pink and yellow dress,hem looks to have be let down and machine finished, a couple of small nips/reenforcements lost in the skirt.blue and yellow dress appears to have had sleeve openings machine finished, possibly altered at sometime, however neat and tidy, slight wear/reenforcement to nape of neck.both have the odd, faint, age related mark.
Lot 179
A Victorian mourning dress of silk having deep velvet band to skirt and sleeves, intricate buttons to front or bodice and bustle back to skirt,shattering in places,also included is a similar blouse, an embroidered bag and beaded apron. Measurements approx, Bodice bust-34",waist 24",length nape to hem 17". Dress bust-32",waist 26",length 56".
Lot 221
Ca. 193 - 211 AD. Roman. This beautifully draped bust shows Julia Domna, the wife of Emperor Septimius Severus, with sensitively rendered facial features. Her carefully combed, centrally parted hair is pulled back over her ears and tied at the back of the head in a broad flat knot. She wears a 'stola', a long, pleated dress worn by patrician women, which is fastened by clasps at the shoulder by fibulae. Stolae were associated with traditional Roman female virtues, especially modesty (Harlow 2012, 39). Julia Domna was the second wife of Emperor Septimius Severus, whom she married in 185 AD. She outlived her husband by six years, witnessed the murder of her son Geta, and finally died or committed suicide in 217 AD upon hearing of the death of her other son, the Emperor Caracalla. Her distinctive features are recognisable across a vast array of surviving portraits in marble, on coins, and on engraved gems. Good condition. Cf. Harlow, M. E. (2012) 'Dressing to please themselves: clothing choices for Roman Women' in Harlow, M.E. (ed.) Dress and identity. University of Birmingham IAA Interdisciplinary Series: Studies in Archaeology, History, Literature and Art 2. Oxford: British Archaeological Reports. Size: L:135mm / W:85mm ; 140g. Provenance: Property of a London Gallery, previously with Mr. M.P. Dannish collector; acquired in the 1990s
Lot 349
Ca. 100-300 AD. Roman. A very well-preserved bronze fibula, featuring an original catch-plate and pin. The body of the fibula consists of an onion knob finial, a round catch plate, and a bow, and a head taking the shape of the anchor. Excellent condition. Fibulae were brooches used in Greek and Roman dress for fastening garments. Greek fibulae from the 7th century BC were elaborately decorated along the long catch plate: rows of animals, such as ducks, lions, and sphinxes, might be soldered on, or a frieze of animals might be worked in relief. The Etruscans were also fond of fibulae, some of which were very large and decorated with elaborate granulation and processions of animals done in relief. The Roman conquests spread the use of the fibula, which became the basis for more complicated brooches. By the Middle Ages, the Roman safety-pin type of fibula had fallen into disuse. Size: L:36mm / W:17mm ; 10.1g. Provenance: Obtained on the London art market in the early 2000s; formerly from the collection of an English Family, by descents from the 1970s.
Lot 354
Ca. 600-400 BC. Eastern Mediterranean. A very well preserved short iron sword of the akinakes type (Greek 'ἀκῑνάκης') with a pointed bevelled blade, bow-shaped guard, rectangular grip, and ellipsoidal pommel; custom-made stand included. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) - inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greek themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46-48. Size: L:540mm / W:70mm ; 665g. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Lot 407
Ca. 600-400 BC. Eastern Mediterranean. A well preserved short iron sword of the akinakes type (Greek ἀκῑνάκης') with a pointed bevelled blade, bow-shaped guard, rectangular grip, and coiled pommel; custom-made stand included. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) - inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46-48. Size: L:525mm / W:65mm ; 525g. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Lot 408
Ca. 600-400 BC. Eastern Mediterranean. A well preserved short iron sword of the akinakes type (Greek ἀκῑνάκης') with a pointed bevelled blade, wide, flat guard, rectangular grip, and a slightly curved crescent moon-shaped pommel; custom-made stand included. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) - inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46-48. Size: L:500mm / W:77mm ; 460g. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Lot 409
Ca. 600-400 BC. Eastern Mediterranean. A well preserved short iron sword of the akinakes type (Greek ἀκῑνάκης') with a pointed blade, bow-shaped guard, rectangular grip, and a coiled pommel; custom-made stand included. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) - inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greek themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46-48. Size: L:385mm / W:53mm ; 215g. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Lot 91
Ca. 618-907. Tang Dynasty. A finely modelled terracotta figure of a female court lady. She is depicted standing and attentive, wearing a long dress with a light coloured top, a red skirt and a purple waist sash or belt. Her right hand is holding a jug, while the left one is slightly raised. Her facial features consist of thin, slightly arched eyebrows, narrow eyes rimmed with black pigment and a pointed nose. Her small mouth is painted with red pigment. Her hair is neatly combed into a hairstyle consisting of a high topknot. The Tang Dynasty was largely a period of progress and stability in the first half of its reign, until the An Lushan Rebellion and the decline of central authority in the latter half of the dynasty. Funerary offerings were an important status symbol in ancient China. The wealthy were accompanied on their journeys through the afterlife with numerous representations of people, objects and animals. Such terracotta figures were made to serve and entertain the owner, to ensure that their journey to the underworld was a happy one. Terracotta tomb guards appear to have first appeared during the Western Han Dynasty. But it was not until the Tang dynasty that the cultural tradition of displaying wealth in elite tombs reached its peak, with increased production of terracotta statuettes. The Tang Dynasty was an exciting time in Chinese history when trade flourished along the Silk Road and unified China was the richest country on earth. Chang'an (now Xi'an) was the capital of the Tang Dynasty and one of the most cosmopolitan cities in the world, filled with foreigners who had travelled to China to trade. The influence of foreigners and talented native Chinese, combined with the economic prosperity brought by trade and the new religion from India, Buddhism, created a strong cultural milieu in which poetry and other forms of art flourished. To find out more about the Tang dynasty and its art production, see Yang, X. (1999). The golden age of Chinese archaeology: Celebrated archaeological finds from the People's Republic of China. New Haven; London: Yale University Press; Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200-750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. Size: L:340mm / W:60mm ; 660g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Lot 98
Ca. 1368-1644 AD. Ming Dynasty. An elaborate male servant figure in court dress or shenyi consisting of a long waistcoat tied at the waist and long, flaring sleeves. His robe is dark blue with light blue accents on the sleeves and collar, while his elaborate hairstyle is accented in black and tied with a red ribbon. In his right hand, he carries an object. This type of figurines were tomb attendants, a class of artefacts called 'mingqi' - sometimes known as "spirit utensils" or "vessels for ghosts". They became popular in the Han Dynasty and would persist for several centuries. Alongside figures like this one were musicians, athletes, and animals. Mingqi often show a high level of detail and naturalism. These were designed to assist the 'po', the part of the soul of the deceased that remained underground with the body while the 'hun', the other part of the soul, ascended. Hundreds of pottery figures like these were placed into tombs during the Ming period. In one undisturbed Ming Dynasty prince's tomb, archaeologists found an array of small figures placed as if in ceremonial procession; the deceased's books, paintings, clothing, and other personal effects were also present. Good condition. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm) Size: L:240mm / W:73mm ; 440g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Lot 100
Ca. 1368-1644 AD. Ming Dynasty. An elaborate terracotta zodiac figure in a court dress or shenyi consisting of a long waistcoat tied at the waist over a purple dress with long flaring sleeves. The robe is dark blue with light blue accents on the sleeves. The hands are folded in front of the chest. The figure is extremely detailed and beautifully glazed in turquoise and cobalt blue colours. The cloaked human body is standing frontal with the head of an animal from the Chinese zodiac - in this case, the snake. The Chinese zodiac is a method of counting years based on the Chinese lunar calendar which assigns every year with a representative animal in a repeating 12-year cycle. Each animal is also associated with a natural element in the Earthly Branch. The twelve Zodiacs are the rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog, and pig or boar. These correspond to the twelve Earthly Branches and are infrequently found in wealthy tombs of the elite and wealthy ancient Ming Chinese. The tradition of sculpting terracotta figurines into zodiac representations might have originated during the Han Dynasty. Normally zodiac figures from the Ming dynasty have human heads and they hold the zodiac emblem animal in their hands. The zodiac figures were often placed in a north-south direction in coffin chambers to represent the progress of time. People hoped that such an arrangement would encourage the god to time to guard the tomb. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm) Size: L:223mm / W:85mm ; 445g. Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Lot 118
Ca. 664-332 BC. Late Period. A statuette of Sekhmet in pale blue-glazed faience. The goddess is shown enthroned, seated upon an undecorated block throne, with her hands on her knees. Her head is that of a lion with a tripartite wig and a sun disc above. A thin back panel rises up from the throne behind her. Her body is clothed in a long form-fitting dress. Sekhmet was the goddess of wrath, warfare, and plague, but despite these unfavourable attributes she was widely worshipped to stave off the ferocious forces which she ruled. She was most commonly invoked in healing practices, as it was hoped she might avert plague and sickness. A statuette like this one might have been kept in the home to prevent illness, or it might have been given as a votive offering to a shrine or temple to seek the goddess' favour and support. Size: L:67mm / W:34mm ; 30g. From a London private family collection; formerly acquired on the UK art market in the 1960s - 1970s; thence by descent.
Lot 529
18CT GOLD AMETHYST & DIAMOND DRESS RING, the large square cut amethyst (12 x 12mms) flanked by a trio of diamonds to each shoulder, ring size L, 9.8gms, in Charles De La Jonchere ring box Provenance: private collection Newport, consigned via our Cardiff office Condition: appears in good overall condition, all stones present, black mineral inclusions present to diamonds
Lot 537
CASED SET OF SIX OPAL DRESS BUTTONS of circular shape in original vintage jewellery box marked 'Mrs Newman Goldsmith & Court Jeweller 10. Savile Row W.' Provenance: private collection Monmouthshire, consigned via our Cardiff office Auctioneer's Note: Charlotte Isabella Newman (1836-1920), also known as Mrs Philip Newman is often credited as the first important female studio jeweller, pupil and assistant to the noted jeweller John Brogden, she won a médaille d'honneur for her collaboration with Brogden at the 1878 International Exhibition in Paris Condition: all appear in good overall condition, surface wear and light scratches, box in good order with only light wear
Lot 1044
A SET OF SIX GEORGE V SILVER TOT CUPS, by James Dixon & Sons Ltd, Sheffield 1926, each silver sleeve chased with a shepherd and a courting couple in 18th Century dress, the scroll handles of vine-form, clear-glass liners, cased. 4.6cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Marks clear and well struck - all further stamped 'Z1101' to base rim, and a varying two-digit number to each rim beneath the handles. Glass liners to three cracked, a fourth with a chip to the top rim. All stand upright, some with rocking to bases. Light surface marks and scratches commensurate with age and use
Lot 1063
A GROUP OF SILVER, including an Edwardian dressing table box, by Henry Matthews, Birmingham 1901, the cover repoussé with figures in 18th Century dress; a Continental trinket box, 800 grade, oval, the cover repoussé with putti; a George V ring box, by Levi & Salaman, Birmingham 1912, cylindrical with velvet-lined interior; a Continental 800 grade box, the pierced cover set with seven garnets; two silver thimbles, etc. (9) 7.3 troy ounces
Lot 1134
A GEORGE V SILVER BOX, by Elkington & Co Ltd, Birmingham 1926, the hinged circular cover embossed with two dancing figures above the image of a steam ship, engraved inscription 'FIRST PRIZE / FANCY DRESS BALL / PRESENTED BY / THE ROYAL MAIL STEAM PACKET CO', mirror inset to underside of cover. 7.5cm diameter, gross 3.7 troy ouncesThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Marks clear and well struck - full set to base, cover further stamped with lion passant and conforming date letter. Also stamped 'ELKINGTON & CO' to base. Cover hinge sturdy, pin slightly protruding at one end. Mirror with foxing and marks to silvering. Various small bruises to base. Minor dings and light surface scratches commensurate with age and use
Lot 1257
AN EDWARDIAN SILVER-MOUNTED GLASS INKWELL, by William Comyns & Sons, London 1903, the domed body applied with four cartouches chased with figures in 18th Century dress. 9cm diameterCONDITION REPORTMarks clear and well struck - full set to cartouche to left hand side, further struck with maker's mark, lion passant and conforming date letter to inside of hinged cover. Cover hinge with very minor wobble, but sturdy. Collar mount firmly attached, four cartouches only affixed at top - some sit a little proud from the glass body. Miniscule losses to glass base rim, and very light surface scratches to underside of star-cut base. Very light surface marks and scratches to silver commensurate with age and use
Lot 188
A tin trunk, the lid painted Miss L Braybrook, with further applied label 'Ancaster Fort, The University Nottingham via Beestom LMR', the interior further painted L Braybrook, 19 Chinery Hill, Bishop Stortford, Hertfordshire, contents to include an RAF Queen's Colour Squadron No.1 dress jacket, h.6ft1", one other dress jacket; RAF 60th Anniversary of the formation of the squadron first day cover, signed Brian Stead and Peter Webb; collectors plates' photograph; model planes etc
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