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Lot 27
Conversion of King Totila by Saint Benedict at Montecassino Diogo Teixeira – António da Costa, c. 1590 Oil on panel Lot Essay: By Vitor Serrão Art Historian ARTIS-IHA-FLUL This important Portuguese Mannerist painting, since always attributed to the “school of Raphael” is mentioned (alongside other of the same dismantled retable) in the auction of the collection of João Marcelino Arroyo held in Lisbon in November 1905. In this famous collection, among a thousand and seven lots sold by the auction firm of José Libório dos Santos, were two large paintings on panel attributed to Raphael Sanzio (1483-1520), one of the most celebrated and highly priced names of the Italian Renaissance. They appear illustrated and with descriptions with such attribution in the sale catalogue: Lot 562: “A large Italian painting, Presentation of child Jesus, School of Raphael (first period). Painted and gilt wooden frame. 210cm hight x 90cm width” Lot 563: A large Italian painting, historic and religious, School of Raphael (first period). Painted and gilt wooden frame. 200cm hight x 96 width” Both sold at a high price (180$000 for the lot now offered for sale) to an intermediary of the auction house of José Libório dos Santos they later passed on various owners maintaining the attribution to Raphael. We had the opportunity to locate the first of these panels in poor condition at a private residence in Palmela, Portugal. It was then clear that it could not be the work of Raphael Sanzio, much less of his first Urbinate period (ca. 1500-1505), but definitely a Portuguese painting with characteristics of the late 1500s. Such Presentation of Child Jesus at the Temple as much as The Conversion of Totila attests recognizable features of style: they are of the workshop of Diogo Teixeira (ca. 1540- 1612), painter of the House of D. António, Prior do Crato who became one of the most prolific painters of Lisbon in the late 16th, early 17th century with a vast work and always faithful to the same principles. Preserved in good condition, the second panel of the Arroyo auction is a museum piece! It depicts the conversion of the king of the Goths, Totila, by Saint Benedict at Montecassino, miracle occurred in 530 when Saint Benedict received the troops of Totila, king of the Ostrogoths (who dies around 547). The painting is, as the one at the mentioned Palmela residence, typical work of Diogo Teixeira and his workshop. Both were part of a large retable of the main chapel of an exctinct Benedictine monastery, composed of several panels depicting scenes of Mary’s life and miracles of the Saint. Who knows if it was not the monastery of São Bento da Saúde in Lisbon (today the Portuguese parliament) that displayed these important decoration works in the late 16th century? (There is a report by the Flemish sculptor Estácio Matias, of that time, that mentions precisely retable decorations that were being done there)... But it is also possible that it was the monastery of Santa Maria de Pombeiro (Felgueiras) to where Diogo Teixeira worked (during his activity in Oporto and Arouca, ca. 1591-1597), where were left some workshop pieces, recently restored. It is not, for now, possible to determine the original provenance. Certain is that these two works went through the art market as works of Raphael of Urbino (moreover as the darkest first Perugini phase...) and with that attribution passed on, from collection to collection, throughout the 20th century… Representing a rare depiction of the Benedictine iconography (studied by Professor Flávio Gonçalves and known only in 18th century tile panels), the miracle of Totila is inspired by an engraving by Bernardino Passeri (painter and engraver active in Rome ca. 1576-1585) in the work Vita et miracula sanctissimi patris Benedicti (Roma, 1579). Passeri, which also executed fifty drawings for Aliprando Caprioli engravings that illustrate the work Speculum et exemplum christicolarum. Vita Beatissimi Patris Benedicti by Ângelo Sangrino (Florence, 1586), created the iconographic structure that inspired Diogo Teixeira and followed by the Benedictine Mannerist and Baroque imagery across Europe and the colonies. The workshop of Diogo Teixeira, that followed the steps of Passeri on the composition of the painting (and this evidence was enough to, per se, refute the traditional attribution) achieved in this work a high level of execution framed by the iconographic conventions imposed by the dominant formal repertoires of the counter-reform Mannerism. Everything testifies to the unmistakable characteristics of Diogo Teixeira's style, even with the collaboration with his son-in-law and disciple António da Costa (ca. 1560- 1623). Both have been involved, in similar dates, in the execution of the panels of the retable of the Misericórdia de Alcochete church (1586-1588). The Conversion of Totila is fruit of the collaboration of these two artists: as said by Adriano de Gusmão, António da Costa worked jointly with his father-in-law and master in a close collaboration that was extensively documented and the Arroyo panels attest. It is known that João Marcelino Arroyo (1868-1930), a prominent parliamentarian, ministry and talented musician, was an habitué of the aristocratic auction sales held in Lisbon it the late 19th century: he might have purchased the paintings (as Raphael works) at one of those dismantled collections. However, it is only reported that they were his until 1905, being the later possessors unknown.
Lot 317
A rare pair of t D. Pedro II (1683-1706)/ D. João V (1706-1750) baroque tochéres Portuguese silver of the late 17th, early 18th century Round bases decorated with acanthus leaves in relief at a first level and cartouches and flowers in a second frieze; turned and spiral stems entirely decorated with floral motifs, cartouches and geometric friezes Candle guards decorated with acanthus leaves in relief and candle holder decorated with flowers and leaves Lisboa assay mark (late 17th century - 1720) and PM maker's mark (late 17th century - 1720) on several pieces Interior with iron pivot and two wood discs (wear signs, original silvered candle guard tops, small defects and restorations) Pre-earthquake (1755) Portuguese silver torchères are extremely rare at the market, especially ones bearing Lisbon assay marks and this quality of design and execution. A similar but unmarked pair of torchères was sold by Veritas in December 2013 Height: 58 cm 4906 g
Lot 35
Child Jesus as the Good Shepherd A large ivory Indo-Portuguese sculpture The Child is sleeping above a heart and wearing a sheepskin, with the right arm holding the head and holding a sheep with the left arm Stepped base, the first with Our Lady and Saint Joseph flanking a fountain from where two birds drink At the second level a lying sheep flanked by two fountains with sheeps and birds drinking At the third level Mary Magdalene kneels with her attributes, a Passion cross and the ointments vase; flanked by two lions The fourth level is decorated with winged angels with garlands 17th century (losses and defects) Height: 33,5 cm
Lot 417
Mills Violano-Virtuoso It is a very surprising piece that combines a violin triggered by metallic components and accompanied by a 44 notes mechanical piano It is electrically powered, with a coin trigger and uses pierced cylinders with wide musical selections, from the classics to popular songs Mahogany cabinet, marked Mills Novelty Co, Chicago With five Mills cylinders in its original boxes The inventor of the Mills Violano-Virtuoso was Henry Konrad Sandell, contemporary of Thomas Edison, a young talented engineer working at the Mills house in Chicago. The first model was manufactured in 1909 and its commercialization occurred arround 1911 being considered, at the time, one of the wonders of the modern technology. A similar model was in New York waiting to be placed at the large ballroom of the Titanic wich unfortunately never happened. A similar piece is kept at the Museu de Música Mecânica of Portugal. Few examples are knowns in the world, especially working perfectly as the one now offered for sale. 170x109x79 cm
Lot 2354
An exceptional pair of cased Precussion Officers Pistols by Ross of Edinburgh, provenance owned by the late Admiral George Hathorn. A very fine cased pair of percussion Officer's pistols by Ross of Edinburgh, 7.75inch sighted octagonal browned damascus barrels engraved Ross Edinburgh in Gothic script, scroll engraved case colour hardened breeches with platinum plugs, border and scroll engraved case colour hardened stepped and bolted locks signed Ross, three-quarters stocked with blued steel mounts including spur trigger guards engraved with the serial no. 173, shield shaped white metal escutcheons engraved with owner's initials G.H., swivel ramrods, contained in their brass bound oak case, the lid with flush fitting carrying handle and circular escutcheon engraved George Hathorn Esq, sliding catches, the green baize lined interior with commensurate accessories to include red leather wrapped three-way powder flask. The pistols retain all of their browned finish to the barrels, all of the varnish to the stocks, all of the case colour hardening to the locks and breeches and virtually all of the blueing to the trigger guards. We would like to thank Clare County Library for providing the image of Admiral George Hathorn and granting permission to use it. Possibly Admiral George Hathorn, the following extract taken from The Naval Biographical Dictionary. George Hathorn, born 17 Nov. 1803, is son of Geo. Hathorn, Esq., of Brunswick Square, London, and is of the family of Hathorn, of Castle Wigg, co. Wigtoun, N.B. He is brother-in-law of Commander Matt. Dixon, R.N. This officer entered the Navy, 9 Aug. 1817, on board the Active 46, Capt. Sir Jas. Alex. Gordon; passed his examination in 1824; obtained his first commission 30 April, 1827; and was afterwards appointed, 22 Jan. 1829, and 25 Nov. 1833, to the Vanguard 76, Capts. Wm. Henry Shirreff, Sam. Burgess, and Chas. Talbot, and Canopus 84, Capt. Hon. Josceline Percy, on the South American and Mediterranean stations. Having officiated for a considerable time as First-Lieutenant of those ships, he was advanced, 10 Jan. 1837, to the rank of Commander; and, on 9 April, 1839, he was nominated Second-Captain of the Benbow 72, Capt. Houston Stewart; his services in which ship on the coast of Syria and at the bombardment of St. Jean d'Acre procured him a Post-commission dated 4 Nov. 1840. He has since been on half-pay.
Lot 85
Y A Chinese ivory brise fan, Canton, first quarter of the 19th century, carved on one side, with blank oval reserve within fan-shaped reserve and flanked by two roundels, on a ground of foliage and auspicious emblems within key-fret border, the solid guard sticks with dragons and foliage, 22.3cm opened and 18.6cm high 19世纪早期 广东造镂雕象牙扇
Lot 86
Y A Chinese ivory brise fan, Canton, first quarter of the 19th century, carved on one side, with an oval central reserve flanked by two circular roundels, on a finely carved ground with pagodas, flowers and lozenges, the solid guard sticks with flower heads and foliage, 33cm open; 20cm high 19世纪早期 广东造镂雕山水台阁图象牙扇
Lot 293
WANG JIAN ZHANG (17TH CENTURY) QUAILS AND MILLET IN THE SONG DYNASTY STYLE A rare Chinese scroll painting, ink and colour on silk, inscribed and signed with two artist's seals, framed and glazed, 141cm x 81cm. Provenance: purchased by Mr William Levi Wood (1879-1958) of West End House, Frensham and thence by descent. Mr Wood was the first editor in chief of English Vogue. The Chinese word for quail, an, is a homophone for the word 'peace' and the word for millet sui, is a homophone for 'year'. The imagery of quail and millet in Chinese is used as a pun 'sui sui ping an', which may be translated as 'May you have everlasting peace year after year'. Wang Jian Zhang, was a native of Fujian. Very few paintings by Wang are known to exist as he only painted for personal friends, not for money. During his life his works were already precious and rare, so much so that anyone with even a simple fan leaf by Wang would treat it as a prized possession.
Lot 80
A RARE CHINESE BLACK-GROUND SILK ROBE FOR A FIRST-RANK IMPERIAL CONSORT, LONG GUA 19TH CENTURY Embroidered with silk and gold thread with eight roundels containing dragons with sacred jewels amongst clouds, bats and fylfots on a dark blue ground, above Buddhist symbols and stylised waves crashing against rocks, 185cm across, 142cm long. Provenance: from the collection of Col. Charles D'Oyly Harmar, DSO, Royal Marines. Charles D'Oyly Harmar, (1878-1963) was posted to Wei-Hai-Wei in 1898 and was present at the sacking of Peking in 1900. Cf. G Dickinson & L Wrigglesworth, Imperial Wardrobe, pp.188 and 189, pl.170 and 171 for a closely related example with the corresponding drawing from the Huangchao Liqi Tushi (the regulations for ceremonial paraphernalia of the Qing dynasty).
Lot 110
3rd-4th century AD. A circular mosaic centre panel mounted on a backboard; the scene finely executed, some reconstitution, depicting Hercules with muscular body, beard and hair falling to shoulders, arms raised; to either side a putti with wings outspread supporting the arms of the male figure; to the left hand side a figure of Victory flying toward central figures, wings outspread, long robes; below, a gryphon with wings outspread; guilloche motif to border. See Pappalardo, U. Greek and Roman Mosaics, New York, 2012. 18 kg, 115cm diameter (3' 9"). Property of a UK gentleman; formerly in an old Munich collection; acquired in Germany before 1990. Hercules, (Greek Herakles), was an important demi-god and hero in the Classical world, appealing to all levels of society and with a major cult developing during the Roman Empire. Hercules was the son of Jupiter (Greek Zeus) and the mortal Alcmene. Hercules was famous for his strength and guile which he put to use for the good of mankind, most notably during the Twelve Labours, thus being recognised as a saviour god. As well as his great strength, Hercules was noted for his numerous love affairs, with both men and women; Plutarch maintains that his lovers were 'beyond counting'. He was married three times, first to Megara, whose children he murdered in a fit of rage, an act which led him to carry out his Labours to atone for his sins. Secondly to the Lydian queen Omphale. Finally he was married to Deianira, for whom he had to fight the river-god Achelous. Soon after they wed, Hercules and Deianira had to cross a river, and a centaur named Nessus offered to help Deianira across but then attempted to rape her. Enraged, Hercules shot the centaur from the opposite shore with a poisoned arrow (tipped with the Lernaean Hydra's blood) and killed him. As he lay dying, Nessus plotted revenge, and told Deianira to gather up his blood and spilled semen and, if she ever wanted to prevent Hercules from having affairs with other women, she should apply them to his vestments. Nessus knew that his blood had become tainted by the poisonous blood of the Hydra, and would burn through the skin of anyone it touched. Later, when Deianira suspected that Hercules was fond of Iole, she soaked a shirt of his in the mixture. Hercules' servant, Lichas, brought him the shirt and he put it on. Instantly he was in agony, as the cloth burnt into him. As he tried to remove it, the flesh ripped from his bones. Hercules chose a voluntary death, asking that a pyre be built for him to end his suffering. After death, the gods transformed him into an immortal. Once his mortal parts had been incinerated, he could become a full god and join his father and the other Olympians on Mount Olympus. This mosaic depicts Hercules being taken to Olympus to take up his place among the Immortals. The scene was a favourite one, especially on the funerary monuments of Emperors who are shown ascending to heaven on the back of an eagle, such as a cameo in the National Library, Paris, depicting Claudius on the back of an eagle being crowned by Victory. A similar scene to that of this mosaic is found on a Late Antique ivory panel in the British Museum depicting the apotheosis of the pagan orator Symmachus who died in 402 AD. Here, the figure of the noted statesman is carried to heaven by a pair of putti. Fine condition, restored. A large decorative display piece.
![1st-3rd century AD. A bronze diploma fragment with text in capitals to both faces; side A [...]OSIERISQUE EORUM / [...]CONUBI](https://cdn.globalauctionplatform.com/52ce2a43-4446-4d12-98c7-a8c800c1a2d5/93de7a9f-5829-4fbc-c1bb-a23309328c92/468x382.jpg)
Lot 125
1st-3rd century AD. A bronze diploma fragment with text in capitals to both faces; side A [...]OSIERISQUE EORUM / [...]CONUBIUM CUM UXO / [...]ABUSISSUNT CUM [ES?]T CIVI / [...]CAELIBES ESSENT CUM / [...]UXISSENT DUM TAXAISIN / [...]D X K MARI; side B [...]AGATHODI / [...] IUSTI. 39.44 grams, 84mm (3 3/4"). Property of a European gentleman; formerly acquired on the German art market before 1980. A military diploma is a bronze tablet recording the privileges accorded to Roman soldiers. They were first issued under Claudius to individual auxiliaries and sailors. The diplomas granted citizenship to individuals and their children, and marriage rights. This fragment refers to the marriage rights accorded by the diploma, indicated by conubium cum uxo[r] (marriage with a wife) and caelibes (unmarried men"). Fine condition.
Lot 1647
A highly polished rectangular slice of the Seymchan meteorite with an exceptional number of transparent olivine inclusions. See Graham, A.L., Bevan, A.W.R. & Hutchison, R. Catalogue of Meteorites, London, 1985, p.323; report of geologist F. A. Mednikov (Magadan, USSR) in a letter, VIII 15, 1967 and of V. 1. Zvetkov (Moscow, USSR) in a letter X 17, 1967; see also Meteoritical Bulletin No.43, Moscow (1968) and database. 33 grams, 80mm (3 1/4"). From the family collection of a London gentleman; previously acquired on the UK meteorite market; found Magadan district, Russia. The main mass of 272.3 kilograms was found during a survey in June 1967 by geologist F. A. Mednikov. The mass was a triangular-shaped thumbprinted meteorite lying among the stones of the brook bed. A second specimen of 51 kilograms was found with a mine detector at a distance of 20 meters from the first in October 1967 by I. H. Markov. During a new expedition in 2004, Dmitri Kachalin recovered about 50 kilograms of new material. Remarkably, about 20% of the new specimens were found to contain olivine crystals, and so revealed the silicated nature of the meteorite. The pallasitic structure was not previously discovered during studies on small metal-only sections of the original mass. The distortion of the Widmanstatten patterns is interpreted as shearing of the superheated meteorite as it broke up in the Earth's atmosphere. Extremely fine condition. Rare.
Lot 1657
A highly polished rectangular slice of the Seymchan meteorite with an exceptional number of transparent olivine inclusions. See Graham, A.L., Bevan, A.W.R. & Hutchison, R. Catalogue of Meteorites, London, 1985, p.323; report of geologist F. A. Mednikov (Magadan, USSR) in a letter, VIII 15, 1967 and of V. 1. Zvetkov (Moscow, USSR) in a letter X 17, 1967; see also Meteoritical Bulletin No.43, Moscow (1968) and database. 50 grams, 90mm (3 1/2"). From the family collection of a London gentleman; previously acquired on the UK meteorite market; found Magadan district, Russia. The main mass of 272.3 kilograms was found during a survey in June 1967 by geologist F. A. Mednikov. The mass was a triangular-shaped thumbprinted meteorite lying among the stones of the brook bed. A second specimen of 51 kilograms was found with a mine detector at a distance of 20 meters from the first in October 1967 by I. H. Markov. During a new expedition in 2004, Dmitri Kachalin recovered about 50 kilograms of new material. Remarkably, about 20% of the new specimens were found to contain olivine crystals, and so revealed the silicated nature of the meteorite. The pallasitic structure was not previously discovered during studies on small metal-only sections of the original mass. The distortion of the Widmanstatten patterns is interpreted as shearing of the superheated meteorite as it broke up in the Earth's atmosphere. Extremely fine condition. Rare.
Lot 1727
A sawn, polished, and etched section of the Muonionalusta meteorite with well-developed Widmanstatten crystallisation patterns. See Graham, A.L., Bevan, A.W.R. & Hutchison, R. Catalogue of Meteorites, London, 1985, p.249. 97 grams, 40mm (1 1/2"). From the family collection of a London gentleman; previously acquired on the UK meteorite market; found northern Scandinavia. The Muonionalusta is a meteorite classified as fine octahedrite type IVA (Of) which impacted in northern Scandinavia, west of the border between Sweden and Finland, about one million years BC. The first fragment of the Muonionalusta was found in 1906 near the village of Kitkiöjärvi. Around forty pieces have been recorded to date. Other fragments have been found in the Pajala district of Norrbotten County, approximately 140 kilometres north of the Arctic Circle. The Muonionalusta is probably the oldest known meteorite being 4.5653 billion years old. Very fine condition. Excessively rare.
Lot 178
9th-8th century BC. A two-piece helmet made from hammered sheet bronze with lateral seams, row of attachment holes to the lower edge, bowl with tall conical peak; mounted on a custom-made stand. 3.4 kg total, helmet: 38cm (15"). Property of a central London gallery; previously in a private collection since the 1980s, formally acquired on the UK art market. Possibly from the reign of King Shalmaneser III, ca. 859-824 BC. The Neo-Assyrian Empire is regarded as the first known substantial military power. Their army consisted of large units of cavalry and skilled archers. Mobile workshops and smiths produced vast quantities of arrows and spears that were required while on campaign. The royal palaces of Nineveh, Ashur, and Nimrud were adorned with reliefs depicting Neo-Assyrian troops including foot soldiers in similar pointed bronze helmets. [A video of this item is available to view on TimeLine Auctions website.] Fine condition, restored.
Lot 180
5th-3rd century BC. A bronze front plate from a cuirass, naturalistically modelled with anatomical details of the torso; repoussé lines defining pectoral and abdominal muscles, nipples applied separately, navel chased to the stomach; arched collar to the top with escutcheon plates to the side with rings for attaching leather straps; two further rings to side of abdomen for leather straps; mounted on a museum quality display stand. See Everson, T. Warfare in Ancient Greece, Stroud, 2004, for discussion. 3.34 kg total, 49cm (19 1/4"). The property of a North West London collector; formerly in a Rhineland-Palatinate collection formed in the 1960s-1980s. In classical antiquity, the muscle cuirass was a type of body armor made from hammered bronze plate to fit the wearer's torso and designed to mimic an idealised human physique. It first appears in late Archaic Greece and became widespread throughout the fifth and fourth centuries BC. It is commonly depicted in Greek and Roman art, where it is worn by generals, emperors and deities. The cuirasses were cast in two pieces, the front and the back, then hammered. They were a development from the early Archaic bell-shaped cuirass, weighing about twenty five pounds. Examples from the fifth century BC have been found in the tombs of Thracians, whose cavalrymen wore them. The earliest surviving depiction in Greek sculpture seems to be an example on a sculptural warrior's torso found on the acropolis of Athens and dating around 470 to 460 BC. The muscle cuirass is also depicted on Attic red-figure pottery, which dates from around sixth to late third century BC. From around the middle of the fifth century BC, the muscle cuirass is shorter, covering less of the abdomen, and more nipped at the waist than in later examples. It was worn over a chitoniskos, a garment of a single rectangle of woolen or linen fabric. Tomb II at Vergina, belonging to Phillip II, father of Alexander the Great, contained an iron muscle cuirass that was decorated with embossed gold. The sculptural replicating of the human body in the muscle cuirass may be inspired by the concept of heroic nudity, and the development of the muscle cuirass has been linked to the idealised portraiture of the male body in Greek art. There was an increasing naturalistic rendering of the human body in Classical Greek sculpture, most notably created by Polykleitos, whose statue of the Doryphoros portrays the ideals of Greek male beauty. Statues of naked idealised males were dedicated at a number of Greek shrines and would have acted as visual references for males visiting the sacred complexes. Cuirasses were also dedicated at temples as votive offerings, and were hung off the interior walls of temples along with shields and other weapons; these were either the armour of vanquished enemies, the armour of a victorious general, or king who dedicated his armour as a thank offering to the gods. Alexander the Great is recorded as leaving his armour at the temple of Athena in Troy as a votive offering. Fine condition, restored.
Lot 1968
3rd millennium BC. A large serpentine cylinder seal with deeply carved frieze of two opposed seated figures with an amphora between them, band of smaller animals below. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, item 62 for type. 56 grams, 46mm (1 3/4"). London private collection; previously acquired 1950s-1970s. Very fine condition.
Lot 1984
2nd millennium BC. A large serpentine cylinder seal with two full-height figures engaged in combat separating two registers of friezes of animals and geometric ornament. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, item 192 for type. 64 grams, 47mm (2"). London private collection; previously acquired 1950s-1970s. Very fine condition.
Lot 2011
3rd millennium BC. A steatite weight with rectangular body, short strap handle to the top; decorated to both sides with a bird with wings outspread, snakes to either side. See Aruz, J. (ed) Art of the First Cities: The Third Millennium BC from the Mediterranean to the Indus, New York, 2003, pp.325-345 for discussion. 950 grams, 16.5cm (6 1/2"). Property of a gentleman living in central London; previously in an old UK collection; previously with Bonhams & Brooks, Knightsbridge, 8 November 2001, lot 201; formerly acquired in the 1970s to 1980s. Fine condition.
Lot 207
20th century AD. A wooden figure of a male with a bird head with a short cap to the top; large beak in the form of an inverted triangle carved with a series of horizontal lines; beak open and curving to the end; arms to the side of the body and prominent phallus; legs with prominent calf muscles and feet pointing downwards. 562 grams, 42cm (16 1/2"). Property of a European collector; formerly from the collection of Prof. RNDr. Jan Jelínek, DrSc., anthropologist, and Director of the Moravian museum, and the president of the International Committee of Museums (ICOM) for eight years; thence by descent 2004; from the Admiralty Islands, Papua New Guinea; acquired by Professor Jelínek during the Australasian expedition in 1969. Accompanied by copies of expedition photographs, map and Dr Jelinek's biography. This wood statue is from the Middle Ramu River region, to the east of the Sepik River. Birds are regarded as the ancestral spirit of the village, having given birth to the first humans.This figure is an image of an ancestral creature depicted as half human, half bird. The elongated nose is the sign of fertility. [No Reserve] Fine condition.
Lot 229
19th-16th century BC. A carved haematite cylinder seal depicting four standing figures, accompanied by a museum quality impression and a typed, unsigned scholarly note by W.G. Lambert, Professor of Assyriology at the University of Birmingham 1970-1993, which states: Main design; group of four standing figures: on the right the sun-god Shamash holding out his saw weapon, facing him, a worshipper offering a kid, behind him an introducing Lama goddess, on the far left the god with mace on a pedestal. Minor design (cut over inscription of ancient owner): lion-griffin above inverted lion attacking hero. Old Babylonian, c. 1900-1600 B.C. Fine engraving. Cf. Collon, D. First Impressions, Cylinder Seals in the Ancient Near East, London, 2005, nos.765-769 for depictions of Shamash. 17.02 grams, 26mm (1"). Property of a Mayfair, London, UK, ancient art collector; acquired in the 1970s-1980s; inventory number PL4. Fine condition.
Lot 232
20th-17th century BC. A carved haematite cylinder seal depicting two god scenes, accompanied by a museum quality impression and a typed, signed scholarly note by W.G. Lambert, Professor of Assyriology at the University of Birmingham 1970-1993, which states: Two designs of roughly the same date are incorporated on this seal. The first shows a scene of three standing gods. On the right is the goddess Ishtar in horned tiara and long robe open at the front where one leg projects with foot resting on the back of a small lion. Quivers rise over her shoulders as she holds up in one hand the double-lion-headed mace, and holds down in the other hand a weapon with curved end. Facing her is a worshipper in hat with deep brim and long fringed robe, open at the front with one leg projecting. He is holding a kid in his arms, which he offers to the goddess. Behind him is a Lamma goddess in horned tiara and long flounced robe, raising both hands. Fillers within this scene are: a fly, a sideways crouching quadruped, and a mask or other such object. The second scene shows a god standing on a dais in the same attire as Ishtar, but holding in one hand a standard surmounted with the lunar crescent. Facing him is a hero with much facial hair, wearing a tight kilt and clasping hands at the waist. A shepherd's crook serves as a terminal. This is an Old Babylonian seal, c. 1900-1600 BC. The first, traditional design was already a little worn when the second design was done, but both fall within the same period. This is an interesting seal for the two designs, the second of which is unusual. The second design is in very good state of preservation. 20.79 grams, 28mm (1"). Private collection, London, UK; formerly with Persepolis Gallery, Mayfair, London, UK; in the 1980s. Very fine condition. Rare.
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