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Lalique figurine of a cat on a raised rectangular base, marks to the base

Victorian style ships wheel barometer on raised rectangular base and a gilt metal figurine

Doulton figurine The Flower Sellers Children HN1342

A Sterling Silver Figurine of a Race Horse and Jockey, Sheffield hallmark, stamped 925, circa 1995/2000, presented on a fruit wood plinth inscribed Sacchetti, mm CWS.

A Porcelain Royal Doulton Figurine "The Orange Lady" HM1159 approx 22 cms high, together with a Doulton & Co., Ltd., figurine "The Mask Seller" HM2103 approx 22 cms high.

1st century BC-2nd century AD. A bronze figurine of a pouncing panther with forelegs extended, tail curled around the left rear leg, head erect with mouth open; fur texture to the body and limbs, swathe of coiled foliage and tendrils to the neck, tufts of fur to the mane and chin; possibly a handle, executed in Hellenistic style. Property of a French gentleman living in London; formerly in a European collection; acquired prior to 1981. Supplied with a positive X-Ray Fluorescence metal analysis certificate. See discussion in Pfrommer, M. Metalwork from the Hellenized East. Catalogue of the Collections, J. Paul Getty Museum, Malibu, 1993. For a similar piece see Eisenberg. J, Art of the Ancient World, New York, 2011, no. 207. Accompanied by an Art Loss Register certificate. Similar examples to this have been found with a dish attached the the forepaws which would indicate that the body of the panther acted as a handle for a incense burner. The inclusion of foliage around the animal, most likely ivy and vines, would suggest that the object was used in ceremonies associated with Dionysus, to whom the panther, ivy and vine was sacred. Dionysiac images, such as panthers, grapevines, and dancing females, were absorbed by the Parthians from the Greeks and continued to appear in the art of Near Eastern cultures in the Sasanian period. 289 grams, 16cm (6 1/4"). Fine condition.

1st-3rd century AD. A bronze figurine of the god Priapus as a herm, head with long flowing hair with wreath, and cap at the back, long beard; large erect phallus and body below waist in the shape of a column. Acquired on the London art market prior to 1980. 6.87 grams, 36mm (1 1/2"). Very fine condition.

5th century BC. A terracotta figurine of a standing female with flat-topped headdress, modelled in the half-round. From an old Hampshire collection; acquired London art market, 1980s; from a New York private collection, 1980s. 106 grams, 14.5cm (5 3/4"). [No Reserve] Fine condition.

New Kingdom, 1550-1070 BC. A bronze amuletic figurine (nekhau) of a tilapia fish modelled in the round with large dorsal fin; hollow with round-section attachment peg to the underside and remains of a second to the rear. Property of a London gentleman; acquired by his father in the 1970s; thence by descent. Cf. Andrews, C. Amulets of Ancient Egypt, London, 1994, plate 69. The tilapia fish was sacred to the goddess Hat-Mehyt who had a cult centre in the north east of the Nile delta at Mendes. The tilapia was a symbol of rebirth and was also believed to accompany and protect the sun god on his daily journey across the sky. 80 grams, 94mm (3 3/4"). Fine condition.

New Kingdom, 1550-1070 BC. A bronze amuletic figurine (nekhau) of a tilapia fish modelled in the round with large dorsal fin, round-section attachment peg to the underside. Property of a London gentleman; acquired by his father in the 1970s; thence by descent. Cf. Andrews, C. Amulets of Ancient Egypt, London, 1994, plate 69. The tilapia fish was sacred to the goddess Hat-Mehyt who had a cult centre in the north east of the Nile delta at Mendes. The tilapia was a symbol of rebirth and was also believed to accompany and protect the sun god on his daily journey across the sky. 51 grams, 76mm (3"). Fine condition.

New Kingdom, 1550-1070 BC. A bronze amuletic figurine (nekhau) of a tilapia fish modelled in the round with large dorsal fin, round-section attachment peg to the underside. Property of a London gentleman; acquired by his father in the 1970s; thence by descent. Cf. Andrews, C. Amulets of Ancient Egypt, London, 1994, plate 69. The tilapia fish was sacred to the goddess Hat-Mehyt who had a cult centre in the north east of the Nile delta at Mendes. The tilapia was a symbol of rebirth and was also believed to accompany and protect the sun god on his daily journey across the sky. 54 grams, 72mm (3"). Fine condition.

Tang Dynasty, 618-906 AD. A large ceramic figurine of a horse with right leg bent forward and head reaching down to touch the leg; finely modelled details with mane, tail, saddle and harness painted. Acquired on the London art market prior to 1980. The horse was a potent image during the vigorous expansion of the Tang golden age. Chargers such as this large horse were both the reward of military incursions to the west, and the foundation of imperial stability that would in turn encourage trade and prosperity over a vast empire. The most sought-after steeds were known as blood-sweating horses; raised in the western kingdom of Ferghana, they were sent in great numbers as tribute to the emperor. Horses also were a sign of wealth: strict sumptuary laws limited the use of the horses to people of a certain rank and even those serving in the military had to provide their own mount. 16 kg, 48.5 x 63.5cm (19 x 25"). Very finely modelled.

Tang Dynasty, 618-906 AD. A ceramic figurine of a horse with one foreleg raised and arched neck on a rectangular base; finely modelled facial details, painted detail to bridle, crupper, harness and saddlecloth with fur detailing; hollow to the underside. From the Lawton family collection. 3.8 kg, 39cm (15 1/4"). Finely modelled.

Tang Dynasty, 618-906 AD, or later. A provincial ceramic figurine of horse and rider on a rectangular base; the horse standing with head slightly turned, saddle and saddle-cloth to its back, tail docked, hollow to the underside; the rider in hood and tunic, hands raised to the face; black and white pigment detailing. Property of an American gentleman; acquired on the London art market in the 1990s. 4.1 kg, 35cm (13 3/4"). Good condition; restored.

Tang Dynasty, 618-906 AD, or later. A provincial ceramic figurine of horse and rider on a rectangular base; the horse standing with head erect, saddle and saddle-cloth to its back, tail docked, hollow to the underside; the female rider in tall headdress and wrap-over coat, hands raised to the waist; black and white pigment detailing Property of an American gentleman; acquired on the London art market in the 1990s. 1.8 kg, 35.5cm (14"). Fair condition; restored.

Ming Dynasty, 1368-1644 AD. A large hollow-formed green-glazed ceramic figurine on a hexagonal base in loose robe, holding a block under the left arm; separate head with conical cap. Property of an American gentleman; acquired on the London art market in the 1990s. 1.2 kg, 35cm (13 3/4"). Fine condition.

Ming Dynasty, 1368-1644 AD. A large hollow-formed green-glazed ceramic figurine on a hexagonal base in loose robe, holding the right arm to the chest; separate head with conical cap. Property of an American gentleman; acquired on the London art market in the 1990s. 1.1 kg, 36cm (14 1/4"). Fine condition.

Ming Dynasty, 1368-1644 AD. A large hollow-formed green-glazed ceramic figurine on a hexagonal pedestal base in loose robe, the left arm bent; separate head with conical cap. Property of an American gentleman; acquired on the London art market in the 1990s. 937 grams, 35cm (13 3/4"). Fine condition.

Kangxi Period, Late 17th century AD. A hollow-formed grey and brown glazed ceramic dog figurine with open mouth, green-glazed collar with tag. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 695 grams, 21.5cm (8 1/2"). Fine condition, light abrasion, some dulling of glazed surfaces due to seawater exposure.

Kangxi Period, Late 17th century AD. A hollow-formed pewter-grey glazed ceramic dog figurine with open mouth, green-glazed collar with tag. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 712 grams, 21.5cm (8 1/2"). Fine condition, small scuff to paw, some dulling of glazed surfaces due to seawater exposure.

Kangxi Period, Late 17th century AD. A hollow-formed grey glazed ceramic dog figurine with open mouth, green glazed collar with tag. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 671 grams, 21.5cm (8 1/2"). Fine condition, tip of tail and ear absent, some dulling of glazed surfaces due to seawater exposure.

Kangxi Period, Late 17th century AD. A hollow-formed grey part-glazed ceramic dog figurine with open mouth, green-glazed collar with tag. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 638 grams, 21.5cm (8 1/2"). Fine condition, chip to spine, some dulling of glazed surfaces due to seawater exposure.

26th Dynasty, 664-525 BC. A large glazed composition figurine of Maahes standing in a kilt with tripartite wig and pierced dorsal pillar. Property of a Swedish collector; formerly in the Malte Nilsson collection; acquired 1950s-1960s; thence by descent. Maahes was an ancient Egyptian lion-headed god of war, whose name means he who is true beside her. He was seen as the son of the Creator god Ptah, as well as the feline goddess Bast in Lower Egypt or Sekhmet in Upper Egypt whose nature he shared. Maahes was a deity associated with war, protection, and weather, as well as that of knives, lotuses, and devouring captives. His cult was centred in Taremu and Per-Bast. 15 grams, 73mm (3"). Fine condition, base absent, nose chipped.

19th-20th century AD. A bronze figurine of the Buddha standing in praying posture standing on a flared base, with triangular flaring garment; the base with lotus-flower detail. Acquired on the London art market prior to 1980. In Thailand statues of the Buddha can be found in a variety of poses, with those standing being particularly popular. The position of the hands relate to various episodes in the life of the Buddha and help the devotee in their mindful practice. 581 grams, 20cm (8"). [No Reserve] Fine condition.

A Royal Doulton figurine " The Old Balloon Seller " Hn 1315

A Royal Doulton group " Afternoon Tea " Hn 1747 and a Royal Doulton figurine " Sweet Seventeen " Hn 2734. (2)

9th-12th century AD. A carved basalt(?) figure of a bearded male with open mouth and pellet eyes, right hand raised to the chest. Property of a German collector; acquired in the 1990s. The pose is reminiscent of the bronze figurine from Rällinge, Sweden, of a seated male stroking his beard and identified as the god Frey. 21 grams, 42mm (1 3/4"). [No Reserve] Fine condition.

2nd-4th century AD, or later. A schist figurine depicting the Buddha seated on a plinth with two praying figures either side of a flaming altar; the Buddha is seated in meditation with hands resting on lap, wearing robes and hair pulled up into a top knot, nimbus behind; the figure is framed by an arched niche with elaborate Corinthian columns forming a shrine. Acquired on the London art market prior to 1980. 4 kg, 33cm (13"). Fine condition.

3rd-2nd millennium BC. A ceramic figurine of a female with straight legs and flexed arms, D-shaped head surrounded by hanks of hair, triangular nose and impressed circular eyes. From a London collection formed in the late 1980s; by repute catalogued by the late Professor Lambert. 68 grams, 13.5cm (5 1/4"). Fine condition.

3rd-2nd millennium BC. A ceramic nude female figurine with legs flexed, arms supporting the breasts, collar with pointillé detailing, pinched nose, applied lentoid eyes. From a London collection formed in the late 1980s; by repute catalogued by the late Professor Lambert. 63 grams, 12cm (4 3/4"). Fine condition, chip to underside.

3rd millennium BC. A large terracotta figurine with flexed arms and legs, large D-shaped headdress with recessed eyes and applied nose, neck decorated with a collar. From a London collection formed in the late 1980s; by repute catalogued by the late Professor Lambert. 77 grams, 13.8cm (5 1/2"). Fine condition.

3rd millennium BC. A terracotta figurine with flexed arms and legs, large D-shaped headdress with recessed eyes and applied nose, neck decorated by a multi-strand collar. From a London collection formed in the late 1980s; by repute catalogued by the late Professor Lambert. 37 grams, 10.7cm (4 1/4"). Fine condition.

2800-550 BC. A bronze figurine of a standing male deity on a square base wearing a long robe belted from the waist; the face carefully modelled with prominent beard; the right arm bent and extended, pierced to accept a rod, the left arm absent. From an old German collection, Cologne; acquired in the early 1980s. Cf. Muscarella, O.W. Bronze and Iron. Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, item 332. In texts from Susa, the capital of the Elamites, over two hundred deities have been identified. The majority of the deities of Susa are of Mesopotamian origin due the political and cultural influences that this held over the Elamites, and Inanna, the goddess of war and fertility, Ea, the creator and protector of mankind, and Sin, the moon god, all had temples at the capital. The head of the Elamite pantheon was a goddess known as Kiririsha, with Shamash, the sun god, being highly revered. 474 grams, 22 cm (8 1/2"). Fine condition. Rare.

4th-3rd millennium BC. A stone figurine of a seated female with arms outstretched, small breasts at the chest and rounded lower body; head tilted upwards and with a bun at the back. From an important London collection formed before 1980. Known as violin idols, they are more properly described as Beycesultan-Kusura figurines with the name deriving from two excavated sites in Anatolia. They are commonly found in domestic structures and buildings that have been described as shrines. They have also been found in graves and probably acted as amulets for the dead. Their exact meaning remains mysterious, but they are generally thought to have been related to the sphere of reproduction and fertility of nature. 227 grams, 10cm (4"). Fine condition.

1st millennium AD. A mixed group comprising: a stone figure of a standing robed female with hood; a bronze zoomorphic mount with pierced lugs to the feet; a bronze goat figurine; a pair of silver bracelets with granule detailing. Property of a Scandinavian collector; acquired on the European art market. 61 grams total, 28-61mm (1 - 2 1/2"). [5, No Reserve] Mainly fine condition.

19th-18th century BC. A bronze figurine of a female standing wearing a long robe, hands held before the chest, cap with broad band to the head. Property of a North West London gentleman; formerly with a central London gallery in 1990. Cf. garment and headgear of an Elamite god in Caubet, A. & Bernus-Taylor, M. The Louvre: Near Eastern Antiquities, London, 1991, p.41. 53 grams, 62mm (2 1/2"). Fine condition, small casting flaw to hem of garment.

2nd millennium BC. A carved marble(?) cobble with domed cap and ring-and-dot eyes; perhaps an unfinished figurine. From an important private London collection; formed in the 1970s and 1980s. 262 grams, 95mm (3 3/4"). Fair condition.

12th-8th century BC. A ceramic figurine with lozengiform lower body rising to flat-section upper body, depicting a standing female with hands beneath the breasts; pointillé collar to the neck, elaborate pierced headdress and stylised facial features. Ex Pars gallery, London, UK, and Terence Eva collection 1990. See Serhal, C.D. Near Eastern Terracotta Models and Figurines, London, 2009 for discussion of the type. 94 grams, 18.5cm (7 1/4"). Fine condition.

12th-8th century BC. A ceramic idol figurine with lozengiform lower body rising to flat-section upper body, depicting a standing female with hands cupping the breasts; ribbed collar to the neck, elaborate headdress and stylised facial features. Ex Terence Eva collection, London, UK; formed in the 1970s-1980s; acquired from Pars antiques, London, UK, 1980s. 94 grams, 19.3cm (7 1/2"). Fine condition.

12th-8th century BC. A flat-backed ceramic figurine depicting a figure with two heads; the eyes and breasts formed with round recesses, the headdresses and necklaces separately applied, formed with vertical strokes; the lower part of body combined extending to a conical base. Ex Terence Eva collection, London, UK; formed in the 1970s-1980s; acquired from Pars antiques, London, UK, 1980s. 143 grams, 19.6cm (7 3/4"). Fine condition.

3rd-2nd millennium BC. A ceramic figurine of a standing nude female with a crescent in her hands pressed to her abdomen. Property of an Austrian collector; acquired in the 1970s. 85 grams, 14cm (5 1/2"). Fine condition, repaired at neck.

BRONZE DECO FIGURINE. Bronze Art Deco lady figurine on base, H: 64 cm

CAPODIMONTE FIGURINE. Capodimante figurine ' M'Lud ' signed Roberto Bromibillo

A Goebel (West German) ceramic grey camel figurine.

Knud Kyhn for Royal Copenhagen. A 1950s stoneware figurine of a bear, drip glazed decorated, bears factory mark and no 20/55 to feet, H: 14 cm

ENOCH FAIRHURST (1874 - 1945) GOUACHE DRAWING Still life with vase of flowers and china figurine Signed 15 1/2" x 13 1/2" (39.5 x 34.25cm)

A Royal Doulton pottery figurine 'The Orange Lady' HN1953

A ROYAL DOULTON FIGURINE, 'Michele', HN2234, another 'Sheila' HN2742 and a Coalport study of Madeline (3)

Vardo figurine

A Royal Doulton figurine, The Old Balloon Seller HN1315

A Royal Doulton figurine, Take Me Home and a Royal Worcester figurine, Special Occasion

A Royal Doulton figurine, Diana, A leonardo study, Field Mice and a similar study, Badger

A Royal Worcester figurine, The Queen's 80th Birthday 2006, boxed

A Beswick Beatrix Potter figurine, Sally Henny Penny, bp3b

A box of miscellaneous to include Palissy lidded mantel vase, walnut cased barometer, an art vase, a composite figurine and a Highland wall clock.

Kaiser limited edition figurine 'The Queen's Waterman'

Coalport 'Paddington In the Snow' figurine

Royal Doulton figurine 'Lorraine' HN3118

Royal Doulton figurine 'Good Companion' HN3608

Royal Doulton figurine 'Elaine' HN3307