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Lot 173

14K Gold & Ruby Ring. Stamped '14K' inside band. Total Weight: 3.4 dwt / 5.3 g Ring Size: 9 - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer, no other forms of payment will be accepted.

Lot 182

Vintage Diamond and 14K White Gold Bracelet with Approximately 3 carats of Graduated Round Brilliant Cut Approx. Diamond Weight: 3cts Approx. Diamond Color: F-G Approx. Diamond Clarity: VVS-VS Overall Weight: 12 grams Length: 7 in. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer, no other forms of payment will be accepted.

Lot 191

14K White Gold 9-10 mm Cultured Pearl Necklace. Clasp having center pearl surrounded by 16 round cut diamonds. Length: 30 in. Overall Weight: 5.89 oz.

Lot 193

14K Gold & Spinach Jade 11-12 mm Bead Necklace. Having Oval cabochon jade pendant with 14K gold rim. Marked on clasp. Length: 32 in. Overall Weight: 11.29 oz.

Lot 2

David K. Stone (American, 1922 - 2001) "Mail Order Bride" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared in the Fleetwood Trails West Collection of Fine Art Prints as "Mail Order Bride" published in 1983. On March 8, 1899, a small Colorado District came of age as the State Legislature voted to create Teller County. The famous gold town of Cripple Creek, Colorado was designated as county seat. Not too many years earlier, Cripple Creek ... like so many other small settlements throughout the country ... was a quiet, almost sleepy, town. But when gold was discovered on a lower slope of neighboring Pike's Peak, the small town grew at a phenomenal rate as literally hundreds of prospectors and fortune seekers poured into the area. As is the case in most gold "boom towns," the vast majority of the Cripple Creek gold seekers were men. Consequently, one of the most scarce and desirable commodities throughout the entire area was eligible young women. This great female shortage brought out some of the most creative matrimonial exploits the West has ever seen. One young entrepreneur even went so far as to travel to the East Coast and recruit young women to relocate in the West ... promising them the natural beauties of the land and unlimited employment opportunities as school teachers and seamstresses. In reality, he was providing a Mail Order Bride service to the many men back home. Overall Size: 18 x 21 in. Unframed. (B07916)

Lot 233

Kirk Stirnweis (Colorado, New Hampshire, B. 1967) "Scarlet Tanager" Signed lower left. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day of Issue Maximum Card of the 22c Monarch Butterfly issued on June 13, 1987. Monarch Butterflies are perhaps the best known and most familiar butterflies in North America. All summer long, Monarch Butterflies are seen basking in the warm sunshine. As they take flight, their orange and black wings glow brightly against the sky. Monarchs do not fear attacks by birds as many butterflies do, for they are protected by an acrid odor which causes potential predators to avoid them. As summer turns to autumn, Monarchs gather together for their long journey south. They fly thousands of miles to Mexico - enabling them to survive the winter. The colorful autumn travelers look like a mantle of orange and gold moving across the countryside as they make their way south. Later, with the coming of spring, the Monarch Butterflies will again head north to complete their amazing migratory cycle. Looking somewhat faded, the female Monarchs search out milkweed plants so they can lay their eggs. Milkweed is the sole food source for Monarch Butterfly young. Image Size: 13.5 x 18.25 in. Overall Size: 17.5 x 22.25 in. Unframed. (B10685)

Lot 30

Dennis Lyall (American, B. 1946) "Troops Land at Normandy" Signed lower right. Original Oil painting on Canvas board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Commerative Cover for Old Glory's Proudest Moments postmarked on the anniversary June 6, 2002. Perhaps at no other time is the American flag recognized as an inspiring symbol of freedom than in war. Since the Revolution, Old Glory has proudly flown in battle, instilling courage and pride in the hearts of American troops who have risked their lives for their country. One of the most horrific battles ever faced by U.S. armed forces happened during World War II when Allied forces invaded Normandy. On June 6, 1944 -- D-Day -- some 5,000 ships carrying over 150,000 Allied troops steamed across the blustery English Channel toward the forbidding beaches of Normandy. Invasion forces included the British-Canadian sector on Gold, Juno and Sword beaches, and the American sector on Utah and Omaha beaches. By dawn, U.S. infantrymen were wading through chest-high water and clouds of artillery smoke. On Utah Beach, American troops were accompanied by 33-ton Sherman tanks that were floated ashore in inflatable canvas covers. To the relief of the Allies, there was very little German opposition. But on Omaha Beach, the U.S. V Corps came up against the battle-hardened German 352nd Infantry Division. Most of the American tanks and artillery never made it to the beach, sinking in the choppy water. Using only light weapons, infantrymen were required to carry out a frontal assault on heavily fortified German positions. By the end of the day, despite the high number of casualties, the Americans held a precarious beachhead six miles long and less than two miles deep -- a hold they would not relinquish. Image Size: 15 x 12.75 in. Overall Size: 18.5 x 16 in. Unframed. (B16989)

Lot 328

Mel Crawford (Canadian, B. 1925) "Philippines" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the U.N. 20c Philippines Flags of the U.N. Series stamp issued September 24, 1982. When Magellan first landed in the Philippines in 1563, he saw a land filled with dark green jungles, delicate purple orchids, and sparkling white beaches. In the centuries since Magellan's visit, the natural, pristine beauty of the land has remained. Moreover, this magnificent labyrinth of islands contains one of the most varied collections of natural resources of any country in the Pacific. From the thick forests of "Philippine Mahogany" to the gold and silver mines in the South, the resources of the Philippines offer a sound foundation on which the dreams of development can be built. Today, those dreams are well on their way to becoming reality for the roughly 7100 islands that form one of Asia's leading nations. The gleaming towers of Manila not only reflect the perfect blue water of the bay, but also the fact that the city is one of the most advanced in Asia. The inhabitants of the Philippines, diverse as the many bright seashells found on the beaches, often choose to preserve their traditional way of life in spite of modernization. For example, deep in the jungles of the southern islands live some of the most primitive tribes in the world who subsist by eating only food that they gather that day. In the South, the Muslim Moros, following traditional methods, still dive into the seas for the treasured pearls. The motive seems clear: this charming land cherishes its past so that it can better adapt technology to meet the needs of its people. Image Size: 14.25 x 12.25 in. Overall Size: 17 x 15 in. Unframed. (B07572)

Lot 350

Chris Calle (American, B. 1961) "Life of Sun Yat-sen - Mausoleum" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands Life of Sun Yat-sen $1.00 Sun Yat-sen and Mausoleum stamp issued November 12, 2000. Sun Yat-sen died in Beijing on March 12, 1925. In 1929, Sun's remains were transferred to a magnificent mausoleum constructed for him in Nanjing, the site of his first provisional government. Situated on the southern slopes of the Zijin Mountains, the memorial grounds cover 20 acres. A flight of 392 marble steps leads to the tomb. Inside, a seated statue of Sun is surrounded by black marble walls engraved with his quotations in gold letters. Behind the statue is a door that leads to a domed hall and a gallery where a recumbent marble statue of Sun lies over his remains. Many cultural relics are displayed in the mausoleum, including a manuscript of lectures on the principle of democracy, a draft of the speech on The Three Principles of the People, a copy of the Provisional Law of the Republic of China, and calligraphy and personal belongings of Sun. Image Size: 9 x 10.5 in. Overall Size: 14 x 17.5 in. Unframed. (B16890)

Lot 351

Tom McNeely (Canadian, B. 1935) "Columbus Coming Ashore" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Maximu Card for the U.S. 29c Columbus Voyage; Going Ashore issued April 24, 1992. "... they arrived at an island of the Bahamas that was called in the Indian tongue Guanahan?." An entry in the Journal of the First Voyage recorded Columbus's wondrous discovery of October 12, 1492. A veritable island paradise lay revealed in the sun's brilliant light, and the Italian mariner was eager to explore its lush interior. Accompanied by his two captains and other officials, Columbus marched ashore carrying the royal banner. Claiming the island for Spain's king and queen, Columbus renamed it San Salvador. Later journal entries maintained that the admiral "... never beheld so fair a thing: trees all along the river, beautiful and green, and ... many birds and little birds which sing very sweetly." Still convinced he had reached the Indies, Columbus called the local Arawak natives "indians," but he spent only three days exploring San Salvador before casting off to investigate what lay beyond the island. For nearly three months, the small fleet glided in and out of a dozen or more exotic ports, sailing coastlines from Cuba to Hispa?ola. On Christmas Eve, Columbus's sturdy flagship -- the Santa Maria shipwrecked during a gale on a reef off Haiti. But ever willing to take advantage of opportunity, Columbus ordered a fort built on the island and left 40 of his men to search for gold until his return. On January 16, 1493, the Ni?ia and Pinta triumphantly set sail for home. Image Size: 17.25 x 18.75 in. Overall Size: 18.25 x 21.75 in. Unframed. (B13786)

Lot 352

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Titled: "Air Riders" Dated: '01 Oil on Board Signed verso Size: 16.25 x 19.5 in. Overall Size: 20.5 x 17.25 in. (1300)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Lot 354

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Moonlit Mountain" Dated: '96 Oil on Panel. Signed lower right / signed, dated, titled and sized verso. Overall Size: 18 x 23 in. (233 - 4305)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Lot 355

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Patterns for Spring" Dated: '95 Oil / Pastel on Paper. Signed lower right. Image Size: 10.5 x 13.5 in. Overall Size: 16.75 x 19.5 in. Unframed. (196 - 4949)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Lot 50

Unusual Tiffany & Co. 18K Gold & Semi-Precious Stone Pill Box. Stamped 'Tiffany & Co. New York" inside lid. Unmarked but acid tested as 18K gold.Overall Weight: 75.5 dwt / 117.4 gDimensions: 4.6 x 6.6 cm - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer, no other forms of payment will be accepted.

Lot 8

Important 22K Gold Jewelry Presentation Box gifted to Prince Alfred Montenuovo (Bangkok) from Chula Lonkorn I, King of Siam (Thailand). Dated February 1877. Privately purchased in the 1980's. Chulalongkorn, also known as King Rama V, reigning title Phra Chula Chom Klao Chao Yu Hua (Thai: Chunlalongkon; 20 September 1853 - 23 October 1910), was the fifth monarch of Siam under the House of Chakri. He was known to the Siamese of his time as Phra Phuttha Chao Luang (the Royal Buddha). His reign was characterized by the modernization of Siam, governmental and social reforms, and territorial concessions to the British and French. As Siam was threatened by Western expansionism, Chulalongkorn, through his policies and acts, managed to save Siam from colonization. All his reforms were dedicated to ensuring Siam's survival in the face of Western colonialism, so that Chulalongkorn earned the epithet Phra Piya Maharat (the Great Beloved King). Alfred, 2nd Prince of Montenuovo and Grandee of Spain (16 September 1854 - 6 September 1927) was one of the highest court officials of Emperor Franz Joseph I of Austria. Among his ancestors were members of the House of Habsburg and the Medici family. His paternal grandmother Marie Louise was the Empress consort of Napoleon I of France from 1810 to 1814 and Duchess of Parma. Overall Weight: 287.4 dwt / 14.37 ozt Dimensions: 1.25 x 5 5/8 x 3 in. (3.2 x 14.4 x 7.8 cm) - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer, no other forms of payment will be accepted.

Lot 270

A vintage woven fibre laundry box with gold finish by Sirrom

Lot 103

700-1100 AD, Viking Age. A superb gold example of an axe or Perun amulet comprising a suspension loop and stylised blade incised cross hatch decoration. This type of amulet is modelled after the axe Molnia and is often seen as a counter part to the common Mjolnir amulet. Some associate these axe pendants with Perun who was the ruler of living world, sky and earth who used the axe to kill the snake that stole the earthly light. Excellent condition, with neck chain. Wearable. Size: L:28mm / W:12mm ; 3g; Provenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent.

Lot 104

C. 1100-1300 AD, Byzantine. Beautiful gold cross with intricate repeating circular openwork decoration outlined with applied granulations. The centre of the cross comprises a hemi-spherical red gem setting with four protruding arms forming a second cross. The medieval empire of Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the aristocracy, or in bronze for people further down the social ladder. Crosses are the principal symbol of the Christian religion, recalling the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the faith of Christians. Superb, wearable condition. Size: L:32mm / W:23.5mm ; 5.5g; Provenance: Property of a professional Ancient art and jewelry expert; previously with a London gallery; initially from a private British collection formed in the 1970s.

Lot 105

C. 1-300 AD, Roman. Pair of gold hoop earrings comprising medium hoops lined with granulated decoration. These beauitful items probably belonged to a Roman noblewoman. Excellent condition. Size: L:Set of 2; 20mm / W:16.5mm ; 3g; Provenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent.

Lot 134

C. 900-1200 AD, Byzantine Crusader. Beautiful gold cross with intricate repeating curvilinear scrollwork decoration and a hinged suspension loop. The centre of the cross comprises a rectangular emerald setting whilst the corners of each arm are studded with pearls The medieval empire of Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the aristocracy, or in bronze for people further down the social ladder. Crosses are the principal symbol of the Christian religion, recalling the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the faith of Christians. Good, wearable condition.Size: L:42mm / W:30mm ; 7.5g; Provenance: Property of a professional Ancient art and jewelry expert; previously with a London gallery; initially from a private British collection formed in the 1980s.

Lot 135

C. 1-300 AD, Roman. A beautiful gold pendant comprising an inverse tear-drop shaped charm with an integrated suspension loop, applied granulations along the outmost border, applied "woven" decoration on the interior border, an terminating in three stacked gold baubles decorated with applied granulation. This ornate item would probably have belonged to a well-off Roman matron. Good condition; on modern chain. Wearable.Size: L:35mm / W:15mm ; 3g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1990s.

Lot 141

C. 1-300 AD. Roman. A heavy bronze armilla bracelet with rectangular section and sub-elliptical, recurved terminals. Armillae were armband style bracelets awarded as a military decoration. The rank of the soldier in question determined the metal from which the bracelet was made either gold, silver or bronze. These bracelets were not for everyday wear, but were occasion pieces worn at special military and civic events suchs a triumphs, religious ceremonies and games. Superb condition. Size: L:60mm / W:68mm ; 34g; Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market formed in the 1980s.

Lot 155

c. 900-1100 AD. A matched pair of Viking gold temple earrings; each a round-section shank with hollow biconical bulb; coiled filigree to the shank and junction of the bulb. See Ristovska, N. Temple Pendants in Medieval Rus': How Were They Worn? in Entwistle, C. & Adams, N. Intelligible Beauty, Recent Research into Byzantine Jewellery, London, 2010.Good condition.Size: L: Set of 2; 31mm / W:33mm; 12g; Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Lot 156

700-1100 AD, Viking Age. A gold coiled ring comprising four coils curving outward leaving an open lozenge shaped frame at the centre of the ring. This ring is intended to evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;” Old Norse Jörmungandr, “Great Beast”), also called the “Midgard Serpent,” is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Excellent condition; wearable. Size: D: 16.4mm / US: 5 7/8 / UK: L 1/2; 9.2g; Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market formed in the 1980s.

Lot 158

C. 200-300 AD. Roman. Bone pin with partial gold sleeve, featuring a round section, and a knob terminal surmounted by a garnet. Pins like this elegant example were worn by elite Roman women as part of their elegant hair arraignments, both to provide structural integrity and as forms of adornment in their own right. Excellent condition. Size: L:120mm / W:6mm ; 5.9g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970s.

Lot 167

c. 900-1100 AD. Viking age. A rare Viking amulet with highly stylised, curvilinear representations of a man and a dragon representing Sigurd slaying Fáfnir. In Norse mythology, Fáfnir (Old Norse and Icelandic) or Frænir is a son of the dwarf king Hreidmar and brother of Regin, Ótr, Lyngheiðr and Lofnheiðr. After being affected by the curse of Andvari’s ring and gold, Fafnir became a dragon and was slain by the brave hero Sigurd. The wearable reminder of this myth would have inspired bravery in Viking warriors. Good condition; on modern chain.Size: L:32mm / W:26mm ; 8g; Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.

Lot 170

C. 1-300 AD, Roman. Pair of gold drop earrings each comprising a gold disk from which hangs a gold sphere. These beauitful items probably belonged to a Roman noblewoman. Excellent condition; wearable.Size: L:Set of 2; 28mm / W:24mm ; 4.4g; Provenance: Property of an established London gallery; acquired from a private estate collection formed in the 1990s.

Lot 173

C. 1-300 AD, Roman. Exquisite pair of gold dangle earrings each comprising a gold disk with applied granulations around the borders and centremost points, a second melon stlye gold bead and terminating in a beautiful agate bead. These beauitful items probably belonged to a Roman noblewoman. Excellent condition.Size: L:Set of 2; 53mm / W:16mm ; 8.2g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s on the UK / European art markets.

Lot 174

C. 1-300 AD, Roman. A beautiful gold pendant comprising a tear-drop shaped charm with an integrated suspension loop, applied granulations along the outmost border, applied "woven" decoration on the interior border, curvilinear decoration in the centremost section, and terminating in three stacked gold baubles decorated with applied granulation. This ornate item would probably have belonged to a well-off Roman matron. Good condition; on modern chain.Size: L:37mm / W:17mm ; 4.2g; Provenance: From the private collection of a Kent gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Lot 196

C. 1-300 AD. Roman. A heavy bronze armilla bracelet with rectangular section and sub-square flattened terminals. Armillae were armband style bracelets awarded as a military decoration. The rank of the soldier in question determined the metal from which the bracelet was made either gold, silver or bronze. These bracelets were not for everyday wear, but were occasion pieces worn at special military and civic events suchs a triumphs, religious ceremonies and games. Superb condition.Size: L:53mm / W:66mm ; 26g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

Lot 208

c. 900-1100 AD. Viking age. A beautiful bronze dragon’s foot amulet comprised of four stylised feet each comprising three applied spheroid decorations perched across a horizontal, faux wrapped bar, and four lozenge-shaped charms suspended from the openwork suspension loops. In Norse mythology, Fáfnir (Old Norse and Icelandic) or Frænir is a son of the dwarf king Hreidmar and brother of Regin , Ótr, Lyngheiðr and Lofnheiðr. After being affected by the curse of Andvari’s ring and gold, Fafnir became a dragon and was slain by the brave hero Sigurd. The wearable reminder of this myth would have inspired bravery in Viking warriors. Good condition. Size: L:60mm / W:49mm ; 32.5g; Provenance: From an old British collection, acquired on the UK art market in the 1970s.

Lot 225

700-1100 AD, Viking Age. Bronze pendant showing a horned, winged beast, probably a dragon, in profile. In Norse mythology, Fáfnir (Old Norse and Icelandic) or Frænir is a son of the dwarf king Hreidmar and brother of Regin, Ótr, Lyngheiðr and Lofnheiðr. After being affected by the curse of Andvari's ring and gold, Fafnir became a dragon and was slain by the brave hero Sigurd. Dragons were powerful mythological symbols, embodying power and strength. Good condition, beautiful patina Size: L:30mm / W:34mm ; 5g; Provenance: Private Kent collection, formed in the 1980s on the UK art market.

Lot 229

c. 1000-1100 AD. Viking age. A beautiful silver ring with a circular hoop and round bezel bearing incised decoration in the form of a dragon, probably Fáfnir. In Norse mythology, Fáfnir (Old Norse and Icelandic) or Frænir is a son of the dwarf king Hreidmar and brother of Regin , Ótr, Lyngheiðr and Lofnheiðr. After being affected by the curse of Andvari’s ring and gold, Fafnir became a dragon and was slain by the brave hero Sigurd. The wearable reminder of this myth would have inspired bravery in Viking warriors. Good condition.Size: D: 17.7mm / US: 5 / UK: J 1/2; 3.4g; Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.

Lot 233

1-300 AD, Roman. Gold ring with D-shaped hoop, and an elliptical bezel with a red gem intaglio bearing a bust of Sol Invictus wearing a radiate crown. Sol Invictus (Latin for: "Unconquered Sun") was a major divinity in Late Roman Religion. Sol Invictus was a patron of soldier and became part of official state religion in AD 274 under the Emperor Aurelian. The cult continued into the 5th century as St Augustine felt it necessary to preach against Sol to his Christian congregation. The connection between Sol and soldiers means that this item may well have belonged to a Roman legionary, who wore it a in hope of protection during military campaigns. Superb condition. Wearable. Size: D: 18.8mm / US: 8 7/8 / UK: R 1/2; 5g; Provenance: Property of a central London Ancient Art Gallery; previously obtained from a British private collection formed before 2000.

Lot 235

C. 1-300 AD, Roman. Pair of gold bauble earrings comprising globuled decorated with round granulations surounded by trailed gold threads to create a three tiered geometric pattern. The uppermost tier is comprised of a series of omega shapes attaching to the earring's hook, with gold granules in the terminals. The second tier is located at the centeral band of the earring and comprises a series of three textured bands. The final tier comprises a series of gold granules enclosed in a circle of applied gold wire. These beauitful items probably belonged to a Roman noblewoman. Good condition. Size: L:32mm / W:20mm ; 7.5g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s on the UK / European art markets.

Lot 238

Ca.400 AD. Late Romano-Jewish. Beautiful rare gold cameo pendant comprising a sub-oval gold pendant (possibly later) with roped gold decoration at the edges. The pendant encloses a blue stone intaglio of a menorah, flanked by a bird and an amphora. Jewish communities flourished throughout the Roman Empire, where they played important roles as merchants and traders. This beautiful item may have belonged to a successful Jewish businessperson in antiquity. Excellent condition; wearable.Size: L:33mm / W:24mm ; 9.5g; Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market formed in the 1980s.

Lot 261

900-1000 AD, Byzantine. A pair of gold earrings in a lunate shape, decorated with extensive open-work floral motifs. At the top each earring is a rounded suspension loop and catch plate and from the bottom of each earring hang six coil pendants terminating in a garnet. Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the aristocracy, or in bronze for people further down the social ladder. This item probably belonged to a Byzantine noblewoman, eager to profess her faith. Excellent condition. Size: D: mm / US: Set of 2; 47 / UK: 25; 12g; Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.

Lot 262

1-200 AD. Roman. Gold ring with D-shaped hoop, stepped, elliptical bezel and carnelian intaglio depicting a standing Diana, holding one of her attributes, a helmet. Diana was a major deity in the Roman pantheon, the patron goddess of countryside, hunters, crossroads, and the Moon. Diana was also a virgin goddess and the protector of childbirth. This ring may have therefore been a fitting possession for a Roman noblewoman. For more information on Roman rings, see: Cf. Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991. Good condition; wearable. Size: D: 20.94mm / US: 11 3/8 / UK: W 1/2; 7.7g; Provenance: From an old Oxfordshire collection formed in the 1990s.

Lot 268

664 – 343 B.C. Late Dynastic / Ptolemaic Egyptian. A beautiful wooden sarcophagus lid with an intact mummy mask depicting an individual with a light reddish-brown skin tone, a triangular face, thin pursed lips, almond shaped eyes, thin arching brows, and a high, triangular aquiline nose. The two portion of a tripartite monochrome black wig sits upon the figure’s head whilst the remains of an elaborately painted chest piece are visible in red, black and crème coloured paint. Masks of this type rose to popularity in the Late Period of Ancient Egypt. Such masks likely had both a decorative and symbolic role as the burial of the dead in Ancient Egypt was an elaborate and ritualised process. Their wide variety of faces makes it likely that these masks were stylised and idealised portraits of the deceased individual. Mummy masks served an elaborate and important role in Egyptian funerary ritual as they served to protect the deceased’s face and head in their travels to the underworld, and in some cases helped to elevate the deceased to a god-like status through adoptions of godly attributes such as blue or gold skin. Good Condition. Size: L:720mm / W:365mm ; 2.9kg; Provenance: Property of a London professional; previously acquire on the USA art market in the 1960s.

Lot 270

C. Ca.1070-945 BC Egyptian. Egyptian bronze figure of God Osiris, The god is shown mummiform with a braided divine beard curved out at its tip, an atef-crown notched for plumes that is fronted by a uraeus, and a peaceful, idealized face. He is posed with the arms folded across the chest, holding a crook and flail. Osiris is the most significant and important god in the Egyptians pantheon. He is known firstly as a god of fertility and then as a god of the underworld. He is usually depicted as a gold or green-faced man, to declare his association with the underworld. In his role of lord of the underworld he was associated with a pharaoh and is thus generally portrayed as a deceased pharaoh, as he is depicted on this figurine. Perfect Condition. Size: L:250mm / W:50mm (w/o stand); 490g; Provenance: From the private collection of an London gentleman; previously in an old British Collection, formed in the 1970s on the UK / European art markets.

Lot 272

664 – 343 B.C. Late Dynastic / Ptolemaic Egyptian. Beaded mummy mask made of delicate faience beads in turquoise, red, cream and black. The face is highly stylised with large trapezoidal eyes, long thin brows, a broad, undetailed nose, a small mouth and lozenge shaped, protruding ears. Beaded mummy masks of this type became popular during the Late Period in Egypt and were probably meant to be representations of the god Osiris, as evidenced by the blue-green skin tone, instead of naturalistic portraits of the deceased as was more common in painted wooden masks. All mummy masks served an elaborate and important role in Egyptian funerary ritual as they served to protect the deceased’s face and head in their travels to the underworld, and in some cases helped to elevate the deceased to a god-like status through adoptions of godly attributes such as blue or gold skin. Good Condition.Size: L:120mm / W:150mm ; 60g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s on the UK / European art markets; Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Lot 273

664 – 343 B.C. Late Dynastic / Ptolemaic Egyptian. Beaded mummy mask made of delicate faience beads in turquoise, red, cream and black. The face is highly stylised with large trapezoidal eyes, long thin brows, a broad, undetailed nose, a small mouth and lozenge shaped, protruding ears. Beaded mummy masks of this type became popular during the Late Period in Egypt and were probably meant to be representations of the god Osiris, as evidenced by the blue-green skin tone, instead of naturalistic portraits of the deceased as was more common in painted wooden masks. All mummy masks served an elaborate and important role in Egyptian funerary ritual as they served to protect the deceased’s face and head in their travels to the underworld, and in some cases helped to elevate the deceased to a god-like status through adoptions of godly attributes such as blue or gold skin. Good Condition.Size: L:100mm / W:110mm ; 25g; Provenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1990s.

Lot 274

C. Ca.1070-945 BC Egyptian. Egyptian bronze figure of God Osiris, The god is shown mummiform with a braided divine beard curved out at its tip, an atef-crown notched for plumes that is fronted by a uraeus, and a peaceful, idealized face. He is posed with the arms folded across the chest, holding a crook and flail. Osiris is the most significant and important god in the Egyptians pantheon. He is known firstly as a god of fertility and then as a god of the underworld. He is usually depicted as a gold or green-faced man, to declare his association with the underworld. In his role of lord of the underworld he was associated with a pharaoh and is thus generally portrayed as a deceased pharaoh, as he is depicted on this figurine. Perfect Condition; Size: L:170mm / W:30mm (w/o stand); 115g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market before 2000.

Lot 276

664 – 343 B.C. Late Dynastic / Ptolemaic Egyptian. A beautiful wooden mummy mask depicting an individual with a reddish-brown skin tone, a rounded triangular face, full lips, wide, deep-set almond shaped eyes, arching brows, and an aquiline nose. The central portion of a naturalistic monochrome black wig sits upon his head. Masks of this type rose to popularity in the Late Period of Ancient Egypt. Such masks likely had both a decorative and symbolic role as the burial of the dead in Ancient Egypt was an elaborate and ritualised process. Their wide variety of faces makes it likely that these masks were stylised and idealised portraits of the deceased individual. Mummy masks served an elaborate and important role in Egyptian funerary ritual as they served to protect the deceased’s face and head in their travels to the underworld, and in some cases helped to elevate the deceased to a god-like status through adoptions of godly attributes such as blue or gold skin. Good Condition. Size: L:355mm / W:210mm (w/o stand); 1.5kg; Provenance: Property of a London gallery, previously in old German collection formed in the 1970s.

Lot 340

C. Ca.1070-945 BC Egyptian. Egyptian bronze figure of God Osiris, The god is shown mummiform with a braided divine beard curved out at its tip, an atef-crown notched for plumes that is fronted by a uraeus, and a peaceful, idealized face. He is posed with the arms folded across the chest, holding a crook and flail. Osiris is the most significant and important god in the Egyptians pantheon. He is known firstly as a god of fertility and then as a god of the underworld. He is usually depicted as a gold or green-faced man, to declare his association with the underworld. In his role of lord of the underworld he was associated with a pharaoh and is thus generally portrayed as a deceased pharaoh, as he is depicted on this figurine. Perfect Condition. Size: L:160mm / W:30mm (with stand); 130g; Provenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent.

Lot 343

Ca.1070-945 BC Egyptian. Egyptian bronze figure of God Osiris, The god is shown mummiform with a braided divine beard curved out at its tip, an atef-crown, and a peaceful, idealized face. He is posed with the arms folded across the chest, holding a crook and flail. Osiris is the most significant and important god in the Egyptians pantheon. He is known firstly as a god of fertility and then as a god of the underworld. He is usually depicted as a gold or green-faced man, to declare his association with the underworld. In his role of lord of the underworld he was associated with a pharaoh and is thus generally portrayed as a deceased pharaoh, as he is depicted on this figurine. Perfect Condition; Size: L:240mm / W:45mm (with stand); 485g; Provenance: From an old British collection formed in the 1990s.

Lot 345

Ca.1070-945 BC Egyptian. Egyptian bronze figure of God Osiris, The god is shown mummiform with a braided divine beard curved out at its tip, an atef-crown notched for plumes that is fronted by a uraeus, and a peaceful, idealized face. He is posed with the arms folded across the chest, holding a crook and flail. Osiris is the most significant and important god in the Egyptians pantheon. He is known firstly as a god of fertility and then as a god of the underworld. He is usually depicted as a gold or green-faced man, to declare his association with the underworld. In his role of lord of the underworld he was associated with a pharaoh and is thus generally portrayed as a deceased pharaoh, as he is depicted on this figurine. Perfect Condition; Size: L:210mm / W:40mm (with stand); 465g; Provenance: Private London collection, formed since the 1970s on the UK and European art market.

Lot 346

Ca.1070-945 BC Egyptian. Egyptian bronze figure of God Osiris, The god is shown mummiform with a braided divine beard curved out at its tip, an atef-crown notched for plumes that is fronted by a uraeus, and a peaceful, idealized face. He is posed with the arms folded across the chest, holding a crook and flail. Osiris is the most significant and important god in the Egyptians pantheon. He is known firstly as a god of fertility and then as a god of the underworld. He is usually depicted as a gold or green-faced man, to declare his association with the underworld. In his role of lord of the underworld he was associated with a pharaoh and is thus generally portrayed as a deceased pharaoh, as he is depicted on this figurine. Perfect Condition; Size: L:130mm / W:25mm (with stand); 90g; Provenance: Private Kent collection, formed in the 1980s on the UK art market.

Lot 348

664 – 343 B.C. Late Dynastic / Ptolemaic Egyptian. A beautiful wooden mummy mask depicting an individual with a pale creme skin tone, a square, but feminine face, full lips, wide almond shaped eyes, arching brows and an aquiline nose. The central portion of a wig sits upon her head and is decorated with a series of colourful stripes and crosshatches. Masks of this type rose to popularity in the Late Period of Ancient Egypt. Such masks likely had both a decorative and symbolic role as the burial of the dead in Ancient Egypt was an elaborate and ritualised process. Their wide variety of faces makes it likely that these masks were stylised and idealised portraits of the deceased individual. Mummy masks served an elaborate and important role in Egyptian funerary ritual as they served to protect the deceased’s face and head in their travels to the underworld, and in some cases helped to elevate the deceased to a god-like status through adoptions of godly attributes such as blue or gold skin. Good Condition.Size: L:320mm / W:140mm (with stand); 1.3kg; Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Lot 350

664 – 343 B.C. Late Dynastic / Ptolemaic Egyptian. Beaded mummy mask made of delicate faience beads in turquoise, red, cream and black. The face is highly stylised with large trapezoidal eyes, long thin brows, a broad, undetailed nose, a small mouth and lozenge shaped, protruding ears. Beaded mummy masks of this type became popular during the Late Period in Egypt and were probably meant to be representations of the god Osiris, as evidenced by the blue-green skin tone, instead of naturalistic portraits of the deceased as was more common in painted wooden masks. All mummy masks served an elaborate and important role in Egyptian funerary ritual as they served to protect the deceased’s face and head in their travels to the underworld, and in some cases helped to elevate the deceased to a god-like status through adoptions of godly attributes such as blue or gold skin. Good Condition.Size: L:115mm / W:140mm ; 50g; Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.

Lot 351

664 – 343 B.C. Late Dynastic / Ptolemaic Egyptian. Beaded mummy mask made of delicate faience beads in turquoise, red, cream and black. The face is highly stylised with large trapezoidal eyes, long thin brows, a broad, undetailed nose, a small mouth and lozenge shaped, protruding ears. Beaded mummy masks of this type became popular during the Late Period in Egypt and were probably meant to be representations of the god Osiris, as evidenced by the blue-green skin tone, instead of naturalistic portraits of the deceased as was more common in painted wooden masks. All mummy masks served an elaborate and important role in Egyptian funerary ritual as they served to protect the deceased’s face and head in their travels to the underworld, and in some cases helped to elevate the deceased to a god-like status through adoptions of godly attributes such as blue or gold skin. Good Condition.Size: L:110mm / W:110mm ; 28g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1970s.

Lot 97

c. 900-1100 AD. Viking age. A beautiful bronze dragon’s foot amulet comprised an openwork design with an integrated suspension loop and three vertical bars joined with angled horizontal bars to form a stylized foot. The amulet's face is decorated with a series of impressed sections. In Norse mythology, Fáfnir (Old Norse and Icelandic) or Frænir is a son of the dwarf king Hreidmar and brother of Regin , Ótr, Lyngheiðr and Lofnheiðr. After being affected by the curse of Andvari’s ring and gold, Fafnir became a dragon and was slain by the brave hero Sigurd. The wearable reminder of this myth would have inspired bravery in Viking warriors. Good condition; on modern chain. Wearable. Size: L:50mm / W:27mm ; 10g; Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.

Lot 327

CONTEMPORARY ART DECO DESIGN SILK CARPET, 275cm x 180cm, geometric gold field.

Lot 340

SILK AND GOLD THREAD HEREKE RUG, 71cm x 56cm, together with another silk rug, 120cm x 75cm. (2)

Lot 410

ORLA KIELY HANDBAG, patent green leather with snap front closure, fabric lining and gold tone hardware 26cm x 22cm H x 11cm, together with matching necklace and brooch, plus a Moschino zippered pouch 21cm x 12cm. (4)

Lot 430

APOTHECARY JARS, early 20th century glass with gold leaf labels, largest 20cm H. (7)

Lot 1213

Victorian ebonised framed two seat settee, upholstered in a blue and gold fabric, gallery detailing, six turned supports (W145cm) and two matching chairs (W55cm) - Condition Report

Lot 1378

Three seat sofa upholstered in a floral patterned gold and teal fabric, scrolling arms (W240cm) and a matching armchair (W97cm) - Condition Report

Lot 1401

Traditional style armchair upholstered in a patterned pale gold fabric, scrolling arms, turned supports, W94cm - Condition Report

Lot 10

A Victorian gold half sovereign, 1846 (3.81g)

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