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Click here to subscribe3000-2334 BC. A large lapis lazuli cylinder seal with bronze axle in situ, frieze with standing robed female surrounded by opposed pairs of animals, winged disc and anthropomorphs with animal legs. 49 grams, 62mm (2 1/2"). Fine condition. Property of a London gentleman; acquired before 1970. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005. Fine condition.
Late 3rd-early 2nd millennium BC. A carved lapis lazuli cylinder seal with frieze of two standing figures in tiered garments fighting with short swords, rectangular frame or shield with sunburst motifs and small dog above. 2.43 grams, 23mm (1"). Fine condition. Property of an Austrian collector; acquired in the 1970s. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, items 114-6, for type.
2nd millennium BC. A carved lapis lazuli cylinder seal with a frieze of a bird in flight with spread wings, a leaping stag, a lizard(?) and other objects. 5.18 grams, 19mm (3/4"). Fine condition. Property of an Austrian collector; acquired in the 1970s. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, item 273 for type.
10th-5th century BC. A carved carnelian cylinder seal with frieze of two robed figures facing a bull with attendant in a flounced robe, small royal figure on the bull's back holding a sceptre. 5.03 grams, 24mm (1"). Very fine condition. Property of a London gentleman; acquired before 1970. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005.
10th-5th century BC. A carved jasper(?) cylinder seal with frieze depicting an enthroned figure with a gryphon at his feet facing a standing robed figure with raised hands, crescent and sunburst motifs above, stars to rear of throne and standing figure with fur(?) mantle to the had and back. 9.37 grams, 31mm (1 1/4"). Fine condition, usage wear. Ex Rihani family collection; acquired 1980s. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, item 338 for type.
2nd millennium BC. A carved lapis lazuli cylinder seal with frieze of standing figures with raised arms wearing horned headdresses. 1.85 grams, 18mm (3/4"). Fine condition. Property of an Austrian collector; acquired in the 1970s. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, items 103, 106 for type.
Later 3rd millennium BC. A carved lapis lazuli cylinder seal with frieze of a standing male hero in profile between rampant animals facing, divine head between and text behind. 6.92 grams, 23mm (1"). Fine condition. Property of an Austrian collector; acquired in the 1970s. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, items 100, 101.
3rd millennium BC. A carved lapis lazuli cylinder seal with frieze of a horned animal, bird, tree and radiant sun. 4.22 grams, 27mm (1"). [No Reserve] Fine condition. Property of an Austrian collector; acquired in the 1970s. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, items 18, 22 for type.
2nd millennium BC. A carved lapis lazuli cylinder seal with frieze of two pairs of opposed rampant animals with vegetation. 6.18 grams, 21mm (3/4"). Fine condition. Property of an Austrian collector; acquired in the 1970s. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, item 286 for type.
4th-2nd millennium BC. A drum-shaped bronze cylinder seal with recurved holes only to the upper face, intaglio design with human figure flanked by pellets and horizontal line with six transverse strokes, one end forked and the other curved upwards. 12 grams, 14mm (1/2"). Fine condition, worn. Ex Rihani family collection; acquired 1980s. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, item 64.
2nd millennium BC. A serpentine(?) cylinder seal with frieze of two standing figures in flounced robes with staff between and crescent above, facing nude figure behind and blank area for insertion of cuneiform text. 3.55 grams, 19mm (3/4"). Very fine condition. Ex Rihani family collection; acquired 1980s. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, p.45-47.
450-350 BC. A limestone cylinder seal with royal figure, boar and solar disc; accompanied by an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'Cylinder seal of Brown Stone, 29 x 12mm On the right is a standing Persian warrior holding a tall spear, and no doubt meant as the Achaemenid king, before whom is a walking boar and above it an elaborate winged solar disc with bust. This is an Achaemenid seal, c.450-350 B.C. Though now worn it was as first cut a very fine example of the best Achaemenid work.' 7.69 grams, 29mm (1 1/4"). Very fine condition. Property of a London gentleman; part of his family collection since the 1970s. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz.
3rd millennium BC. A terracotta temple cone with slightly domed upper surface, vertical bands of cuneiform text to one side. 161 grams, 11.5cm (4 1/2"). Fine condition. From a European collection; formerly in an old Oriental collection; acquired 1960. S ee Aruz, J. Art of the First Cities. The Third Millennium B.C. from the Mediterranean to the Indus, New York, 2003 for discussion.
2500-2340 BC. A mixed ceramic group comprising: an administrative document from the ancient Sumerian city of Isin, with cuneiform text in four columns; a group of four ceramic seals from a large clay bulla with cylinder seal impressions three showing a contest scene between animals and heroes and one the sun god Utu in his boat. 295 grams total, document: 84mm (3 1/2"). Fair condition, document repaired. From an old Adelaide, Australian collection, formed in the 1960-1970s. Cf. Aruz, J. Art of the First Cities. The Third Millennium B.C. from the Mediterranean to the Indus, New York, 2003, p.455 for discussion of literacy in Isin.
3rd-7th century AD. A drum-shaped amethyst seal matrix with intaglio image of an advancing lion with a putto on its back playing a lyre. 2.47 grams, 14mm (1/2"). Extremely fine condition. Property of a retired London collector; acquired before 1990. The image of a putto or Cupid riding on the back of a lion is one that first appears in the Hellenistic period, but found greater popularity in the Roman Empire. The message of this imagery is love conquers all and is found in mosaics, such as that from the House of the Faun in Pompeii, the reverse of coins, such as that of the Emperor Diadumenianus, and also jewellery, mostly cameos and intaglios. It is a motif that found renewed popularity in the Victorian period.
1st millennium BC. A large and ornate openwork cast bronze plaque or mount depicting, to the centre, an anthropomorphic figure with shoulder-length hair and downturned mouth, wearing a tunic and trousers; above the head, a disc with human facial features, flanked by small anthropomorphs; the central figure's feet claw-like, standing on the bodies of two long-necked dragons; the arms outstretched, with fringed sleeves, a staff in each hand; to the reverse, two loops for attachment. 181 grams, 17cm (6 1/2"). Very fine condition [No Reserve] Property of a Salisbury, Wiltshire, UK collector; formerly in a Russian private collection, formed in the 1950s. See Rieff Anawalt, P. Shamanic Regalia in the Far North, London, 2014. Objects such as these were created by the Finno-Ugric peoples who inhabited the north-east of Russia during the Iron Age. The culture is notable for its metal sculptures from the Kama valley, dated to the first millennium BC, and on the basis of the zoomorphic motifs used on these sculptures all the artefacts in the collection are classified as Perm or Kama Animal Style. The pieces were created for use by shamans who acted as healers and wise men, and women, for the community. The iconography of the pieces relate to the spirit world that the shaman entered during ceremonies.
2nd century BC-2nd century AD. The top of a rectangular alabaster stele with stylised human face carved in the half-round with lentoid sockets for separate inlaid eyes, keeled triangular nose, D-shaped bilinear ears; incised inscription below the chin. 9.4 kg, 37cm (14 1/2"). Fine condition. From an important English collection; acquired in the 1990s. South Arabian sculpture associated with palaces and domestic settings often reflects a strong Graeco-Roman influence. In contrast, ancestral images, funerary portraits and votive dedications exhibit a distinct style that is characteristically local. The flat surfaces to the rear of these stele suggest that they were installed against walls and were most likely memorial plaques in honour of the dead. Relief plaques such as these are known from the upland areas of the Marib, the ancient centre of the Sabaean Empire. This area contains numerous stone ruins dating from between the first millennium BC into the early first millennium AD, and which was a period when the region was enriched by the burgeoning Roman demand for spices that linked southern Arabia to Ethiopia and the cultures of the Indian Ocean in a complex trade network.
3rd millennium BC. An alabaster bifacial idol, flat in section, with trapezoidal body and two large pierced and rimmed eyes above. 20 grams, 34mm (1 1/4"). Very fine condition. Ex Rihani family collection; acquired 1980s. Today the remains of Tell Brak covers a massive forty-hectare area. It was first excavated by Max Mallowan in 1937-1938 when he found the remains of early religious practices represented by hundreds of votive objects, including the so-called 'eye idols'. Tell Brak must be considered as one of the oldest cultural sites in the world it was still in use during the Mitannian empire [1,500 - 1,360 BC]. During the Hellenistic and Roman eras, the site lay silent. Tell Brak was known as Nagar in Antiquity. Although they date from roughly 3200 BC, eye idols look remarkably modern. Simple and abstract, they represent the human form with a flat trapezoidal body and oversized eyes. Hundreds of these figurines were found in a monumental building known as the 'Eye Temple' in Tell Brak, north-eastern Syria. The idols vary in size from about 3 to 6 cm in height, and are made of either white or black alabaster. Because of the huge numbers of idols found, the monumental building where they were found has been called the 'Eye Temple.' The interior decoration was lavish - the altar was decorated with a frieze made from colourful stones, silver nails and gold foil, and on the floor and walls were mosaics made from coloured clay cones. Eye imagery and designs are found in the frieze and carvings in the temple, suggesting that the eye was a powerful magical and religious symbol. The large number of eye idols found and their size suggests that they were left in the temple as votives (gifts to the gods), perhaps representing the people who dedicated them as offerings. The decoration of the idols varied, and it seems that they may have been personalised; those on display in the Fitzwilliam are examples of the simplest type, but others have carved lines and zig-zags on their bodies depicting clothes. There are even examples of group idols representing more than one figure - some of which have a smaller 'child' figure carved onto the front. Eye Idol from Tell Brak (WAE.5.1966) Although Tell Brak is in north-eastern Syria, both the decoration and plan of the Eye Temple resemble that of south Mesopotamian temples, such as those in Uruk and Eridu. Eye symbolism was also popular in Mesopotamia around this time, and eye designs have been found on objects from the Royal Cemetery from Ur as well as in temples. The eye idols of Tell Brak, however, are completely unique and have no parallels, in either Syria or Mesopotamia. For more information: D. Collon, Ancient Near Eastern Art (London, 1995), 47, fig. 26. M.E.L. Mallowan, Excavations at Tell Brak, Iraq 9 (1947), 32-8; 150-9; 198-210.
3rd millennium BC. A steatite(?) idol, flat in section, with trapezoidal body and two pierced discoid eyes above. 29 grams, 47mm (1 3/4"). Very fine condition. Ex Rihani family collection; acquired 1980s. Today the remains of Tell Brak covers a massive forty-hectare area. It was first excavated by Max Mallowan in 1937-1938 when he found the remains of early religious practices represented by hundreds of votive objects, including the so-called 'eye idols'. Tell Brak must be considered as one of the oldest cultural sites in the world it was still in use during the Mitannian empire [1,500 - 1,360 BC]. During the Hellenistic and Roman eras, the site lay silent. Tell Brak was known as Nagar in Antiquity. Although they date from roughly 3200 BC, eye idols look remarkably modern. Simple and abstract, they represent the human form with a flat trapezoidal body and oversized eyes. Hundreds of these figurines were found in a monumental building known as the 'Eye Temple' in Tell Brak, north-eastern Syria. The idols vary in size from about 3 to 6 cm in height, and are made of either white or black alabaster. Because of the huge numbers of idols found, the monumental building where they were found has been called the 'Eye Temple.' The interior decoration was lavish - the altar was decorated with a frieze made from colourful stones, silver nails and gold foil, and on the floor and walls were mosaics made from coloured clay cones. Eye imagery and designs are found in the frieze and carvings in the temple, suggesting that the eye was a powerful magical and religious symbol. The large number of eye idols found and their size suggests that they were left in the temple as votives (gifts to the gods), perhaps representing the people who dedicated them as offerings. The decoration of the idols varied, and it seems that they may have been personalised; those on display in the Fitzwilliam are examples of the simplest type, but others have carved lines and zig-zags on their bodies depicting clothes. There are even examples of group idols representing more than one figure - some of which have a smaller 'child' figure carved onto the front. Eye Idol from Tell Brak (WAE.5.1966) Although Tell Brak is in north-eastern Syria, both the decoration and plan of the Eye Temple resemble that of south Mesopotamian temples, such as those in Uruk and Eridu. Eye symbolism was also popular in Mesopotamia around this time, and eye designs have been found on objects from the Royal Cemetery from Ur as well as in temples. The eye idols of Tell Brak, however, are completely unique and have no parallels, in either Syria or Mesopotamia. For more information: D. Collon, Ancient Near Eastern Art (London, 1995), 47, fig. 26. M.E.L. Mallowan, Excavations at Tell Brak, Iraq 9 (1947), 32-8; 150-9; 198-210.
3rd millennium BC. An alabaster idol, flat in section, with trapezoidal body and two large lentoid eyes above. 10 grams, 42mm (1 3/4"). Fine condition. Ex Rihani family collection; acquired 1980s. Today the remains of Tell Brak covers a massive forty-hectare area. It was first excavated by Max Mallowan in 1937-1938 when he found the remains of early religious practices represented by hundreds of votive objects, including the so-called 'eye idols'. Tell Brak must be considered as one of the oldest cultural sites in the world it was still in use during the Mitannian empire [1,500 - 1,360 BC]. During the Hellenistic and Roman eras, the site lay silent. Tell Brak was known as Nagar in Antiquity. Although they date from roughly 3200 BC, eye idols look remarkably modern. Simple and abstract, they represent the human form with a flat trapezoidal body and oversized eyes. Hundreds of these figurines were found in a monumental building known as the 'Eye Temple' in Tell Brak, north-eastern Syria. The idols vary in size from about 3 to 6 cm in height, and are made of either white or black alabaster. Because of the huge numbers of idols found, the monumental building where they were found has been called the 'Eye Temple.' The interior decoration was lavish - the altar was decorated with a frieze made from colourful stones, silver nails and gold foil, and on the floor and walls were mosaics made from coloured clay cones. Eye imagery and designs are found in the frieze and carvings in the temple, suggesting that the eye was a powerful magical and religious symbol. The large number of eye idols found and their size suggests that they were left in the temple as votives (gifts to the gods), perhaps representing the people who dedicated them as offerings. The decoration of the idols varied, and it seems that they may have been personalised; those on display in the Fitzwilliam are examples of the simplest type, but others have carved lines and zig-zags on their bodies depicting clothes. There are even examples of group idols representing more than one figure - some of which have a smaller 'child' figure carved onto the front. Eye Idol from Tell Brak (WAE.5.1966) Although Tell Brak is in north-eastern Syria, both the decoration and plan of the Eye Temple resemble that of south Mesopotamian temples, such as those in Uruk and Eridu. Eye symbolism was also popular in Mesopotamia around this time, and eye designs have been found on objects from the Royal Cemetery from Ur as well as in temples. The eye idols of Tell Brak, however, are completely unique and have no parallels, in either Syria or Mesopotamia. For more information: D. Collon, Ancient Near Eastern Art (London, 1995), 47, fig. 26. M.E.L. Mallowan, Excavations at Tell Brak, Iraq 9 (1947), 32-8; 150-9; 198-210.
3rd millennium BC. An alabaster idol, flat in section, with trapezoidal body, two large lentoid eyes and six-stage hairstyle above. 16 grams, 51mm (2"). Fine condition. Ex Rihani family collection; acquired 1980s. Today the remains of Tell Brak covers a massive forty-hectare area. It was first excavated by Max Mallowan in 1937-1938 when he found the remains of early religious practices represented by hundreds of votive objects, including the so-called 'eye idols'. Tell Brak must be considered as one of the oldest cultural sites in the world it was still in use during the Mitannian empire [1,500 - 1,360 BC]. During the Hellenistic and Roman eras, the site lay silent. Tell Brak was known as Nagar in Antiquity. Although they date from roughly 3200 BC, eye idols look remarkably modern. Simple and abstract, they represent the human form with a flat trapezoidal body and oversized eyes. Hundreds of these figurines were found in a monumental building known as the 'Eye Temple' in Tell Brak, north-eastern Syria. The idols vary in size from about 3 to 6 cm in height, and are made of either white or black alabaster. Because of the huge numbers of idols found, the monumental building where they were found has been called the 'Eye Temple.' The interior decoration was lavish - the altar was decorated with a frieze made from colourful stones, silver nails and gold foil, and on the floor and walls were mosaics made from coloured clay cones. Eye imagery and designs are found in the frieze and carvings in the temple, suggesting that the eye was a powerful magical and religious symbol. The large number of eye idols found and their size suggests that they were left in the temple as votives (gifts to the gods), perhaps representing the people who dedicated them as offerings. The decoration of the idols varied, and it seems that they may have been personalised; those on display in the Fitzwilliam are examples of the simplest type, but others have carved lines and zig-zags on their bodies depicting clothes. There are even examples of group idols representing more than one figure - some of which have a smaller 'child' figure carved onto the front. Eye Idol from Tell Brak (WAE.5.1966) Although Tell Brak is in north-eastern Syria, both the decoration and plan of the Eye Temple resemble that of south Mesopotamian temples, such as those in Uruk and Eridu. Eye symbolism was also popular in Mesopotamia around this time, and eye designs have been found on objects from the Royal Cemetery from Ur as well as in temples. The eye idols of Tell Brak, however, are completely unique and have no parallels, in either Syria or Mesopotamia. For more information: D. Collon, Ancient Near Eastern Art (London, 1995), 47, fig. 26. M.E.L. Mallowan, Excavations at Tell Brak, Iraq 9 (1947), 32-8; 150-9; 198-210.
3rd-2nd millennium BC. A tubular bronze shank with circumferential bands, finial of a female(?) head with slicked hair, lentoid eyes, domed plaque above; probably Mesopotamian. 181 grams, 12cm (4 3/4").Fair condition. Property of an Austrian collector; acquired in the 1970s. Cf. Aruz, J. Art of the First Cities. The Third Millennium B.C. from the Mediterranean to the Indus, New York, 2003, item 38 for similar facial treatment.
New Kingdom, 1550-1070 BC. A carved jasper amuletic pendant of the djed pillar on rectangular base and supporting pillar to the reverse, pierced for suspension. 0.78 grams, 21mm (3/4"). Fine condition. From an early 20th century French collection. The djed pillar is an amulet in the form of the hieroglyph sign djed, which means 'enduring', stable, and similar concepts. Originally it may have represented a stylised tree trunk, with the branches lopped off. It first appeared in connection with the rites for Sokaris, the funerary god of Memphis, and later for the god Ptah. It was the central feature of the ceremony known as 'The Raising of the Djed. Since this entailed the setting upright of a huge djed by means of ropes, rather in the manner of a maypole, the tree trunk origin seems likely.
15th century AD. A carved wooden architectural figure of a saint(?) or dignitary in loose robes, with neat beard and styled hair, right hand clasped to the chest; later suspension loop to the reverse with old collector's paper inked label stating 'Mediaeval Figure / Ripon Cathedral / 15th century'. 1.1 kg, 35.5cm (14"). Good condition, left arm absent, some old worm holes, light wear to face and lower body. Property of a Kent collector; by inheritance 1970; formerly property of Jack Smith, antiquarian and collector of Hebden Bridge, Yorkshire, UK, acquired 1920s-1960s. There has been a church on the site of Ripon cathedral since at least the 7th century AD; the present structure is mainly medieval and was largely completed by the late 15th century but the tower remained incomplete in 1547 when, under Edward VI, the college of canons was dissolved; the minster church was designated as a cathedral for the new diocese of Ripon in 1836, the first since the period of the Reformation. [No Reserve]
13th-14th century AD. A mixed group of lead seal matrices comprising: one discoid with loop to the reverse, central intaglio star and legend to the border '*S' EATILhE FIII TR[...]E'; a vesica-shaped seal matrix with lug, strap and lateral curves to the reverse, intaglio central crescent moon and star, legend to the border '* S' ROG' (seal of Roger); a vesica-shaped seal matrix with high-relief fleur-de-lys to the reverse, intaglio addorsed pair of similar symbols and legend '+ S' hERICI F[...]' (seal of Henry son of [...]); a similar matrix with pierced lug to the reverse, central cross and fleur-de-lys motif and legend 'S' ELENE[...]' (seal of Helen [...]"). 42 grams total, 25-32mm (1 - 1 1/4"). [4, No Reserve] Fine condition. Found Kent, UK; two recorded with PAS. First and second, see Portable Antiquities Scheme, references KENT- 4092A4 and KENT-407165.
Dated 1797 AD. A Georgian gold ring with circumferential incised hoops; inscribed to the inner face in script 'E. Boyd & Yule Novr 15th 1797' with maker's mark 'H&T' and hallmarked with George III bust, lion and capital 'F' date letter (used at Newcastle for 1796"). 2.79 grams, 17mm overall, 15.21mm internal diameter (approximate size British I, USA 4 1/4, Europe 7.44, Japan 7) (3/4"). Very fine condition. Property of a gentleman; acquired in the 1970s. See printouts of family tree documents for Edward and Janet and their children; especially for Benjamin who was an important figure in early Australian settlement; see also DNB and ADB entries for Benjamin Boyd. Edward Boyd (1770-1846), born at Merton Hall, Wigtownshire, Scotland, son of Rev. William Boyd, married Janet Yule, eldest daughter of Benjamin Yule (Edinburgh) on 15th November 1797 and he went on to be a London merchant and to hold the office of Deputy Lieutenant there. Their most famous son, Benjamin Boyd (1803-1851), was an entrepreneur and London stockbroker who, having raised capital, travelled to Australia to form the Royal Bank of Australia; Benjamin was a squatter on a large scale (one of the largest in Australia, eventually controlling over 2,000,000 acres in the Monaro and Port Philip districts, raising sheep) and he controversially imported natives from the Pacific Islands as labour (a practice known as 'blackbirding'); as a trader he had three steamers and three sailing ships (as Boyd and Company) and he founded Boydtown, the first settlement on Twofold Bay, in 1843, on the south coast of New South Wales, with a large jetty and a lighthouse (Boyd's Tower); from Boydtown, Benjamin had nine whaling ships operating and he sat in the New South Wales Legislature. The town was deserted in the 1840s, after Boyd's finances collapsed but the area is now flourishing again, mostly for housing and tourism; Boyd left Australia in 1848 in an attempt to recoup his fortune in the California goldfields and, in 1851, sailing on his yacht 'Wanderer', he disappeared at Guadalcanal (Solomon Islands) after going ashore to hunt ducks; his body was never found. The Ben Boyd National Park in New South Wales was named after him in 1971. The other sons of Edward and Janet include William Sprott Boyd (1799-1844, Resident at Court of Boroda and Political Commisioner for HIEC at Gujerat), Mark Boyd (1805-1879, banker and involved with Benjamin in Australian land deals), John Christian Curwen Boyd (1811-1882, served in the British Embassy, Florence), Edward Lennox Boyd (1819-1905, of Burham Priory) and James Boyd (1819-1852, travelled to Austrlia and New Zealand, where he married); there were also daughters named Marion, Mary, Jane and Janet.
1793 AD. A mixed group of battlefield items recovered from the site of the battle of Lauterbourg (1793 AD) comprising: a quantity of lead musket balls, with one flat nipped face; a quantity of impacted musket balls, flattened and deformed; a quantity of lead shrapnel from munitions; a bronze fuse from a cannonade; four triangular-section lead bars for casting musket balls. 8.1 kg total, lead bars: 23-24cm (9 - 9 1/2"). [No Reserve] Mainly fine condition; one lead bar broken. Property of a Hampshire collector; collected by the vendor's father in the 1930s. On 13 August 13, 1793, a battle of the War of the First Coalition took place in the forested area by the town of Lauterbourg (Luterburi) on the present Franco-German border. The present group of items were recovered from the site of this battle. The lead bars were used to cast fresh musket balls on the battlefield.
1793 AD. A mixed group of battlefield items recovered from the site of the battle of Lauterbourg (1793 AD) comprising: an iron horse-shoe; a bronze pipe-bowl; an iron round-section peg with shoe-shaped head; a discoid iron plaque; an iron cannonball (8cm diameter); a large iron cannonball (10cm diameter); a bronze officer's order seal with initials 'ML' over a 'liberty cap' and five stars within a wreath (for the 5th year of the Republic), supplied with a wax impression; an iron plate with hooked strap; four French coins including Louis XVI (12 deniers), two of the First Republic (un decime and a year 5, Strasbourg, 5 centimes) and an illegible silver issue; a wooden-handled cleaver with iron blade and fittings. 7.2 kg total, cleaver: 33cm (13"). [13, No Reserve] Mainly fine condition. Property of a Hampshire collector; collected by the vendor's father in the 1930s. On 13 August 13, 1793, a battle of the War of the First Coalition took place in the forested area by the town of Lauterbourg (Luterburi) on the present Franco-German border. The present group of items were recovered from the site of this battle. The purpose of the farrier's cleaver may have been to remove a hoof from the body of a fallen horse in order to secure a replacement.
17th-18th century AD. A flat-section silver hoop with bezel formed as two hands gripping a crowned heart. 3.69 grams, 22mm overall, 19.42mm internal diameter (approximate size British S 1/2, USA 9 1/2, Europe 21.0, Japan 20) (1"). [No Reserve] Fine condition, usage wear. Property of a German collector; acquired in the 1990s. Cf. Dalton, O.M. The Franks Bequest Catalogue of Finger Rings, London, 1912, item 1104. Claddagh rings are said to have been worn by fishermen's wives in Claddagh, Galway, Ireland. They are traditionally passed from a mother to the first of her daughters to marry.
Late 19th century AD. A painted icon of Christ Pantocrator (Христос Пантократор) holding a book in his left hand, covered by a silver oclad and halo mounted with stones, in fitted kiot glazed wooden case with hinged lid; silver halo marked 'KK' and '84'. 1.3 kg, 25cm (9 3/4"). Fine condition, case slightly damaged. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part-paid in icons and other important works of art by the Russian government. After the Council of Nicea confirmed in 325 AD that Christ was the visible and perfect image of God the Father, there followed three centuries of struggle against the heresies that denied either the divine nature of Christ, such as Arianism, or his human nature, such as Monophysitism. It was finally established that the person of Christ embodied the union of two natures, human and divine. The icon of the Pantokrator became the symbol of this dogma and was an important bulwark in defence of the Orthodox faith. It traditionally depicts Christ fully frontal with the right hand raised in blessing, left hand holding a closed book with a richly decorated cover featuring the Cross, representing the Gospels. An icon where Christ has an open book is called Christ the Teacher, a variant of the Pantocrator. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church.
Early 19th century AD. A rectangular wooden icon with tempera painted image of Christ Pantocrator (Иоанн Креститель), nimbate and facing, with open book in his right hand, Cyrillic script flanking; slots to the upper and lower edges, adhesive labels with Lithuanian Republic cultural ministry stamp. 1.4 kg, 35 x 29.5cm (13 3/4 x 11 1/2"). Very fine condition. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part paid in icons and other important works of art by the Russian government. After the Council of Nicea confirmed in 325 AD that Christ was the visible and perfect image of God the Father, there followed three centuries of struggle against the heresies that denied either the divine nature of Christ, such as Arianism, or his human nature, such as Monophysitism. It was finally established that the person of Christ embodied the union of two natures, human and divine. The icon of the Pantokrator became the symbol of this dogma and was an important bulwark in defence of the Orthodox faith. It traditionally depicts Christ fully frontal with the right hand raised in blessing, left hand holding a closed book with a richly decorated cover featuring the Cross, representing the Gospels. An icon where Christ has an open book is called Christ the Teacher, a variant of the Pantocrator. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church.
19th century AD. A rectangular wooden icon with tempera painted scene of Christ Pantocrator (Христос Пантократор) covered by a gilded riza, holding an open book with calligraphic Cyrillic text, in a gilt oklad with openwork border and Cyrillic characters; fabric-covered reverse. 1.2 kg, 31.5 x 27cm (12 1/2 x 10 1/2"). Very fine condition. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part paid in icons and other important works of art by the Russian government. After the Council of Nicea confirmed in 325 AD that Christ was the visible and perfect image of God the Father, there followed three centuries of struggle against the heresies that denied either the divine nature of Christ, such as Arianism, or his human nature, such as Monophysitism. It was finally established that the person of Christ embodied the union of two natures, human and divine. The icon of the Pantokrator became the symbol of this dogma and was an important bulwark in defence of the Orthodox faith. It traditionally depicts Christ fully frontal with the right hand raised in blessing, left hand holding a closed book with a richly decorated cover featuring the Cross, representing the Gospels. An icon where Christ has an open book is called Christ the Teacher, a variant of the Pantocrator. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church.
Early 19th century AD. A rectangular wooden icon with tempera painted image of Christ Pantocrator (Христос Пантократор), nimbate and facing, with open book in his right hand, Cyrillic script flanking; two slots to the reverse, one with wooden mounting block. 818 grams, 31 x 25.5cm (12 1/4 x 10"). Fair condition. From the Alexandra collection, Somerset, UK; previously acquired by a Russian art collector from Sotheby's Amsterdam in 2004; formerly acquired between 1970 and 1972 by one of the largest industrialists from East Germany, who made his fortune in selling cement to Russia, and was subsequently part paid in icons and other important works of art by the Russian government. After the Council of Nicea confirmed in 325 AD that Christ was the visible and perfect image of God the Father, there followed three centuries of struggle against the heresies that denied either the divine nature of Christ, such as Arianism, or his human nature, such as Monophysitism. It was finally established that the person of Christ embodied the union of two natures, human and divine. The icon of the Pantokrator became the symbol of this dogma and was an important bulwark in defence of the Orthodox faith. It traditionally depicts Christ fully frontal with the right hand raised in blessing, left hand holding a closed book with a richly decorated cover featuring the Cross, representing the Gospels. An icon where Christ has an open book is called Christ the Teacher, a variant of the Pantocrator. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church.
. A milky blue agate crystal geode from Scotland, with base and one face polished. 1.5 kg, 19cm (7 1/2"). From an old Bristol paleontological collection; acquired 1950s-60s. This geode shows several stages in its creation: first, the cavity was lined with agate; next quartz crystals grew within the hollow; last the hollow was filled in with white agate. [No Reserve] Fine condition.
. Group of labradorite mineral specimens, one of particularly large size, each with one major face polished to show the structure, iridescent qualities and colours to advantage. 4.33 kg total, 7-14cm (2 3/4 - 5 1/2"). Property of a gentleman; acquired prior to 2000; acquired prior to 2000. See Bonewitz, Dr Ronald Louis, Rocks and Minerals, 2005, p.241 for information. Labradorite is a plagioclase feldspar that usually occurs in crystalline masses and shows a richly iridescent range of, in these specimens, blue-green colouration, sometimes known as a 'schiller' effect; it was first discovered in Labrador, Canada in the 18th century. [10, No Reserve] Fine condition.
144-149 AD. Rome mint. Obv: IMP M IVL PHILIPPVS AVG legend with laureate, draped and cuirassed bust right. Rev: FIDES MILITVM legend around, S-C across fields with Fides standing left holding two standards. Obv: IMP M IVL PHILIPPVS AVG legend with laureate, draped and cuirassed bust right. Rev: FIDES MILITVM legend around, S-C across fields with Fides standing left holding sceptre and transverse standard. 20.87, 21.75 grams. Ex Walter Steinberg collection; with envelopes. RIC 172a; Cohen 59; Sear 8994/RIC 173a; Cohen 62; Sear 8995. [2, No Reserve] Very fine; first with flaw to flan edge.
351-353 AD. Trier mint. Obv: DN DECENTI-VS FORT CAES legend with laureate, draped and cuirassed bust right, A behind head. Rev: VICTORIAE DD NN AVG ET CAES legend with two Victories standing facing each other, holding between them a shield inscribed VOT-V-MVLT-X in four lines; mintmark TRP in exergue. Rome mint. Obv: MAG DECENTI-VS NOB CAES legend with laureate, cuirassed bust right. Rev: VICT DD NN AVG ET CAES legend, similar type but with star below; mintmark RB in exergue. 4.53, 3.76 grams. Ex Walter Steinberg collection; with envelopes. RIC VIII Trier 313; Sear 18886/RIC VIII Rome 219; Sear 18872. [2, No Reserve] Very fine. First rare.
Dated 1574 and 1580-1581 AD. Third/fourth issue; three halfpence. Obv: profile bust with rose behind with E D G ROSA SINE SPINA legend and 'acorn' mintmark. Rev: long cross over arms with date above and CIVITAS LONDON legend. Penny. Obv: profile bust with E D G ROSA SINE SPINA legend and 'Latin cross' mintmark. Rev: long cross over arms with CIVITAS LONDON legend; with a printout of the hoard content and British Museum envelopes. 0.71, 0.47 grams. Ex Ashford (Kent) Hoard, 2014 (disclaimed under Treasure Act Ref 2014 T384"). S. 2569; N. 2000/S. 2570; N. 2001. See Portable Antiquities Scheme, reference KENT-705241; see Treasure Act, reference 2014 T384. [2, No Reserve] Good fine. First scarce.
16th-17th century AD. Group comprising: Elizabeth I, three halfpence, 1562. Obv: profile bust with rose behind and E D G ROSA SINE SPINA legend and 'pheon' mintmark. Rev: long cross over arms with date above and CIVITAS LONDON legend. James I, halfgroat, first coinage (1603-1604 AD"). Obv: profile bust with 'II' mark of value behind and I D G ROSA SINE SPINA legend and 'thistle' mintmark. Rev: arms. Charles I, halfpenny. Obv: rose. Rev: rose. 1.75 grams total. Found Near Stock, Essex, 1980s. S. 2569; N. 2000/S. 2649; N. 2076/S. 2851; N. 2274. [3, No Reserve] Near fine to good fine.
18th century AD. Group comprising: France, Louis XV period. Obv: lis-ended double voided cross. Rev: crown above VII D XII GR (for 7 deniers and 12 grains weight) with lis below. Portugal, John V period. Obv: voided cross with flower in angles. Rev: 1/2 MOIDOR in two lines with W below. 8.79, 5.19 grams. See Houben, p.28/see LSA, p.55; see Mallis, BP: 2-3. [2, No Reserve] Near very fine. First scarce.
Dated 1952 AD. Nickel alloy. Obvs: profile bust with small TRIAL to right with GEORGIVS VI DEI GRA BRITT OMN REX FID DEF legend. Revs: palm tree dividing date with small TRIAL to right with BRITISH WEST AFRICA ONE SHILLING legend. Edges: with 'grip' marks spaced regularly. 4.84, 4.67 grams. KM# TS2. [2, No Reserve] First almost as struck; second very fine with surface adhesions.
Dated 1968-1987 AD. Group comprising: 1 centime, 1968, steel piedfort. Obv: ear of wheat with script 'republique francaise' legend. Rev: numeral 1 flanked by 'cornucopia' mintmark left and 'owl' Engraver General mark right, with date above and script 'centime' below. 5 francs, 1972, cupro-nickel piedfort. Obv: standing figure with REPUBLIQUE FRANCAISE legend. Rev: floral spray with 5 / FRANCS in two lines above flanked by 'cornucopia' mintmark left and 'owl' Engraver General mark right with date below and LIBERTE EGALITE AND FRATENITE legend. 100 francs, 1886/1986 commemorative, silver piedfort. Obv: half facing bust with REPUBLIC / FRANCAISE in two lines below and dates to right. Rev: with LIBERTE / EGALITE / FRATERNITE in three lines above value 100 F and date, flanked by 'cornucopia' mintmark left and 'dolphin' Engraver General mark right. 10 francs, 987/1987 commemorative, silver proof. Obv: with 10 / francs in two lines with date below flanked by flanked by 'cornucopia' mintmark left and 'dolphin' Engraver General mark right with REPUBLIQUE FRANCAISE LIBERTE EGALITE FRATERNITE legend. Rev: standing Hugo Capet in field of crosses with MILLENAIRE CAPETIEN legend and dates below. 3.16, 20.04, 29.93, 11.98 grams. KM# P386 (500 struck; see KM# 928 for type)/KM# P455 (500 struck, see KM# 926a for type)/KM# P972 (5,000 struck, see KM# 960 for type)/KM# 961a (10,000 struck"). [4, No Reserve] Near as struck; few minor marks. First and second scarce.
Dated 1860 AD. Obv: crowned arms within wreath with date below. Rev: with SAGGIO / DI / BRONZO / NICHELIFERO / CU 95 NI 5 in five lines with REGIA ZECCA DI MILANO above. 5.08 grams, 25mm. See KM# 3.1 for issued type. The Kingdom of Italy was formed in 1860, with coins first being struck dated 1861; it is likely that this piece was produced as a test of the proposed alloy, prior to the new coinage; the composition, flan size and general design suggest this is a model for a proposed 5 centesimi coin. [No Reserve] Very fine. Rare.
Dated 1791 AD. First Republic, year 3, Limoges mint. Obv: profile bust with date and 'fasces of three arrows' mark below with LOUIS XVI ROI DES FRANCOIS legend. Rev: standing Genius writing the constitution dividing value 15 / SOLS and + / I minmark with REGNE DE LALOI legend and LAN 3 DE LA / LIBERTE in two lines below. 5.00 grams. KM# 604.5. [No Reserve] Near very fine.
A pair of 19th century coloured engravings after Henry Alken - The First Steeple Chace on Record - Preparing to Start and Accomplished Smashers, 35 x 41 cm approx in oval frames together with a set of four coloured prints of 19th century hunting scenes, 8 x 52 cm approx in simple wooden frames
BEARS: A collection of vintage teddy bears / soft toys to include an antique, probably Edwardian WWI First World War soldiers miniature bear with jointed limbs, a similar aged small 'dancing bear' with glass milk bottle to hands and chain to nose. Along with a Merrythought Slipper case in the shape of a Hedgehog and a Rag Doll Golly.
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