We found 151062 price guide item(s) matching your search

Ca. 100-300 AD.A lovely oval-shaped nicolo ring stone finely engraved with a floral motif. This item probably served as a signet ring used to seal letters.Size: L:12.9mm / W:8.9mm ; 0.83gProvenance: Private UK collection; From an old British collection formed in the 1990s.

Ca. 200-300 AD.A finely rendered gold disc-shaped pendant, hammered from thin gold with a suspension loop. This piece is fully wearable and it comes with a modern necklace cord. The sun stands for Sol Invictus (Latin for "Unconquered Sun"), a major divinity in Late Roman religion. Sol Invictus was a patron of soldiers and became part of the official state religion in AD 274 under 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 in hope of protection during military campaigns.Size: L:16.9mm / W:15mm ; 2.37gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 600-700 AD.A matched pair of gold earrings, each one comprising a hollow hoop attached to a hollow convex shaped spacer with filigree decoration attached pearl, a hook-and-loop closure. Excellent condition. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: Set of 2: L:33mm / W:30 - 33mm; 3.8g.Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 100 AD.A beautiful terracotta oil lamp with a circular concave discus with a small wick hole and decorated with a left-facing rider on a horse, concentric ridges on the shoulders, and an angular nozzle with scrolls. During the Roman Empire, a lamp was originally called a ‘lychnus’ (from the Greek ‘??????’) with the oldest Roman lamps dating back to the third century BC. It is thought that the Romans took the idea for lamps from the Greek colonies of Southern Italy. During the Roman Empire, it became commonplace to use lamps in funeral ceremonies and for public purposes. For a similar lamp, cf. Walters, H. B. (1914). Catalogue of the Greek and Roman Lamps in the British Museum. London, Plate XXI, item n. 571.Size: L:93mm / W:67mm; 42.8g.Provenance: Acquired from a London gallery; formerly with Arnos Jumperz, Leverkusen Germany. His collection was formed before 1994 and passed by descent to his family.

Ca. 200-300 AD.A finely rendered gold disc-shaped pendant, hammered from thin gold with a suspension loop. This piece is fully wearable and it comes with a modern necklace cord. The sun stands for Sol Invictus (Latin for "Unconquered Sun"), a major divinity in Late Roman religion. Sol Invictus was a patron of soldiers and became part of the official state religion in AD 274 under 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 in hope of protection during military campaigns.Size: L:16.5mm / W:12.8mm ; 2.55gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 350 BC.A lovely miniature amphora-shaped pendant with an inverted piriform body, conical-shaped base, scrolled handles, tall neck with a midrib, and a suspension loop. This item is fully wearable and it comes with a modern necklace cord.Size: L:19.8mm / W:13.8mm ; 5.95gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 100-300 AD.A gold pendant formed of a thin sheet of gold, modelled in the shape of a square. The centre is set with a beautiful garnet cabochon. This item is wearable and it comes with a modern necklace cord.Size: L:16.7mm / W:9.1mm ; 2.84gProvenance: Private UK collection; From an old British collection formed in the 1990s.

Ca. 100-300 AD.A gold lunar amulet comprises a crescent moon with a suspension loop and applied spheres. In Roman mythology, Luna (the Moon) is sometimes viewed as a goddess in her own right and sometimes appears as an epithet of more senior goddesses like Diana or Juno, meaning this item may be a sign of devotion to senior gods within the Roman pantheon. Excellent condition; wearable, and it comes with a modern necklace cord.Size: L:19.5mm / W:13.2mm ; 3.79gProvenance: Private UK collection; From an old British collection formed in the 1990s.

Ca. 100-300 AD.A Roman socketed leaf-shaped iron spearhead with a raised central ridge and an integral hollow handle. The army of ancient Rome (800 BC - AD 476) was a formidable fighting power. It was exceptionally well disciplined, organised, and supplied with a huge selection of effective and battle-proven weapons. The sword and spear were the infantryman's main weapons, and the spectacular military successes of the Roman legions throughout Europe and the Middle East lay in the disciplined battlefield application and relentless training in the use of these weapons. For a similar example, see Amgueddfa Cymru, the National Museums and Galleries of Wales, Item number 32.60/4.22.Size: L:295mm / W:30mm ; 205gProvenance: Private Oxfordshire collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 100 AD.An attractive hollow-cast bronze naturalistically modelled protome of a forepart of a bull with upward-curving horns, erect ears, and finely detailed facial features including nostrils, mouth, and heavy-lidded eyes. The forelegs are bent and hung down. This item may have been used as a chariot or furniture ornament decoration.Size: L:70mm / W:60mm ; 92gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.

Ca. 100-300 AD.A nicely preserved diamond-shaped iron socketed spearhead with a sharp point and a lateral hole at the base for attachment to a shaft. For a similar example, see Amgueddfa Cymru, the National Museums and Galleries of Wales, Item number 32.60/4.22.Size: L:390mm / W:50mm ; 520gProvenance: Private Oxfordshire collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 1800 AD.A carnelian intaglio with a right-facing portrait of Zeus set in a fob with an oval base and four bars forming an open-work handle that ends in a decorative suspension loop. Zeus, the god of the sky, lightning, and thunder, was also the king of the gods. He was the most important god in the Greco-Roman Pantheon and was as celebrated as he was feared. This item is fully wearable and it comes with a modern necklace cord.Size: L:24.4mm / W:22.4mm ; 9.83gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 400-500AD or later.A bronze statuette of the Bodhisattva Avalokiteshvara standing against a backplate with a band of five-petaled flowers, surrounded by a border of radiating spikes with Triratna finials. The Bodhisattva wears a simple monastic robe covering his lower body, leaving him bare-chested. His right hand is raised in Abhaya mudra, and his left hand holds a flask. He is heavily adorned with jewellery and his head with neatly pulled hair is topped with a tall crown. Avalokiteshvara - 'the god who's looking down at the world' is one of the most important Bodhisattvas in Buddhism, personifying compassion. This deity vowed to liberate all creatures from pain and suffering. This item comes with a custom-made stand.Size: L:160mm / W:120mm ; 585gProvenance: Private UK collection; From an old British collection formed in the 1990s.

Ca. 1100-1200 AD.A cast bronze pendant in the shape of a right hand with a slightly clenched fist. The wrist with ribbed features and a suspension loop. This item comes with a modern necklace cord.Size: L:53mm / W:28mm ; 45gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 3rd millennium BC.A cast bronze mace head / cudgel of a tubular shape. The upper part is decorated with 14 rows of raised chevrons, separated by a series of vertically orientated bands and framed above and below by three raised bands. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:243mm / W:35mm ; 455gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 3rd millennium BC.A fine example of a cast bronze mace head with a cylindrical body probably placed around a wooden or less decorated metal staff. The upper half is decorated with panels of 11 raised chevrons. The lower half is plain and the shaft hole is collared. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:215mm / W:40mm ; 520gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 1800-600 BC.A nicely patinated bronze harness fittings comprising a pair of snaffle bits. The horse bridle bit features terminal rings in different sizes. The item is joined at the smaller rings; an unadorned bar extends from each side and splays out into a large terminal ring, through which the cheek pieces would have originally passed. This piece would have sat in the horse's mouth attached to the reins giving the rider more control over the animal.Size: L:20-19mm / W:35-10mm ; 234gProvenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed in the 1970s on the UK / International art markets.

Ca. 3rd millennium BC.A cast bronze mace head/cudgel of a tubular shape. The upper part is decorated with 10 rows of raised chevrons, separated by a series of vertically orientated bands and framed above and below by three raised bands. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:230mm / W:40mm ; 430gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 3rd millennium BC.A fine example of a cast bronze mace head with a cylindrical body, probably placed around a wooden or less decorated metal staff. The upper half is decorated with panels of twelve raised chevrons. The lower half is plain and the shaft hole is collared. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:220mm / W:35mm ; 480gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 3rd millennium BC.A cast bronze mace head/cudgel of a tubular shape. The upper part is decorated with panels of 12 rows of raised chevrons, separated by a series of vertically orientated bands and framed above and below by three raised bands. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:200mm / W:30mm ; 330gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 1200-700 BC.A two-edged bronze blade, leaf-shaped with rectangular tang, corrugated midrib extending almost to the tip and flared at the shoulder, decorated with vertical grooves. Cf. Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004, item 36.Size: L:495mm / W:80mm ; 610g.Provenance: Property of a London gentleman, formerly with the Parthenon gallery, previously in an old English collection formed in the 1980s.

Ca. 900-1200 AD.A "Greek Fire" hand grenade comprising a cream ceramic vessel with a spheroconical body, and a short, squat neck with a sloped rim. This hollow vessel is decorated with registers of stamped dots and dot-and-circle motif below a register of incised diagonal lines radiating around the neck. Globular vessels such as this example are frequently interpreted as an early type of hand grenade. It is believed that these jars could have contained an incendiary agent such as the infamous "Greek fire" which was impervious to water, making them invaluable weapons in naval battles. Unfortunately, the recipe for "Greek fire" was lost with the fall of the Byzantine empire, but it was likely a petroleum-based mixture. This item comes with a custom-made display stand.Size: L:90mm / W:140mm ; 526gProvenance: Private Oxfordshire collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 900-1200 AD.A ceramic hand grenade comprising an elongated barrel-shaped vessel with a short neck, decorated with a pattern of vertical grooves and stamped circle motifs. "Greek Fire" was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water. This item comes with a custom-made display stand.Size: L:65mm / W:120mm ; 338gProvenance: Private Oxfordshire collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 2nd-1st millennium BC.A bronze axe head with a short, flared blade with a triangular cheek, and a reinforced pole with a wedge-shaped extension and decorative, horizontally oriented ribs. This item comes with a custom-made stand.Size: L:30mm / W:120mm ; 418gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 1100-1300 AD.This sword also known as ‘Knights sword’ and even as a ‘Double handed sword’ with the extra-long grip. Oakshott would assign the name ‘type F’ the simplicity of the name reflecting the fitting! The pommel is a plain disc, devoid of any features. The grip, which is sadly missing, reveals the underlying tang, long straight with some notches about halfway along. These may have aided in securing the grip or even reflect a change in the profile of the grip, a detail lost to time. The cross guard, is again plain, straight long, and thin. Some attempt at embellishment has been made by flaring the ends of the guard and folding them over. Oakshott would assign a type 1, although an exact parallel is wanting due to the somewhat uniquely folded ends. The blade is long, straight, and thin with a single thin fuller running half the length of the blade. The blade has a very shallow taper, to its point whilst giving the impression, that the blade is in fact parallel.The lower half of the blade has no fuller, just a slightly raised rib, running to the gently tapering point. Overall the condition of the blade is very good. There is only slight surface pitting and some small nicks to the edges. Oakshott would categorise the blade as a type XIIIa and date it, along with the pommel and cross guard to: 1100 to 1310 a likely date for this type of ‘Two Handed Sword’. The item comes with an academic report written by Russel Scott; famous lecturer, reenactor, and expert of Viking and medieval artifacts.Size: L:1250mm / W:700mm ; 1.42KgProvenance: Property of a London private collector; formerly in a European collection; acquired from Peter Ing till collection in early 2000s (Vienna). Formerly in an old Austrian collection.

Ca. 1050-1350 AD.A beautiful Knights sword. The pommel is round with a small round decorative recess in the centre. There is no other decoration on the pommel, cross guard, or blade. The grip, which is missing would have been very short, the fist that gripped it would have done so, tightly! The tang is correspondingly short and triangular in shape, the pointed end disappearing into the pommel whilst the opposing short side flares out along the cross guard. Oakshott would have assigned the value of a type G variant to this pommel. The cross guard is long and thin, it is slightly wider in the centre to accommodate the tang passing through, otherwise, it is the same thickness all the way along. Oakshott would have called it a Type 1 Cross Guard. The blade is long and thin and gradually tapers to a rounded point. The blade also has a fuller, which is fairly broad and travels almost the full length of the blade almost to the tip. The blade type is an Oakshott type Xa which dates the sword to between 1050 and 1350, very similar dates for the pommel and cross guard. The condition of the sword is below average, the corrosion on the blade had created holes in some places and huge pits in others. The blade has been corroded away quite deeply, particularly on one edge.Nevertheless, the artifact is recognisable as a nine-hundred-year-old sword with the attendant corrosion of a sword of that age. The pommel and cross guard are both in good condition for such an artifact. The item comes with an academic report written by Russel Scott; famous lecturer, reenactor, and expert of Viking and medieval artifacts.Size: L:940mm / W:220mm ; 1.07KgProvenance: Property of a London private collector; formerly in a European collection; acquired from Peter Ing till collection in early 2000s (Vienna). Formerly in an old Austrian collection.

Ca. 1550 AD.This sword could loosely be termed as a ‘Swept Hilted Rapier’ The hilt has no pommel as such, and the grip (which survives) resembles a modern kitchen knife handle flaring at one edge. The grip is textured and resembles a stag horn, three circular protrusions suggest that two halves of the grip may have been riveted together. The cross guard is roughly S-shaped. A portion of which forms a horizontal cross guard before dropping downwards, decoratively, parallel to the blade. The other end of the guard sweeps upwards and outwards, presumably to protect the fingers before coming to an abrupt halt, just before the flaring out of the end of the grip. The Pommel, Grip and Cross guard are very much an integrated unit on this rapier. The unit is completed by the addition of a further, knuckle bow, attached to the cross guard but hovering over the hilt, the whole circular plate is in line with the blade. The blade is one-sided, but sharply triangular in shape from the guard to the tip. There is some inlay into the blade, enhancing the value and prestige of an already valuable sword. Dating is difficult, but circa or later, the mid 1550’s is not, too far out. There is a little discoloration of the patina of the sword, there are some nicks into the acutely sharp blade, all in all the condition of this artifact is excellent. The item comes with an academic report written by Russel Scott; famous lecturer, reenactor, and expert of Viking and medieval artifacts.Size: L:1000mm / W:90mm ; 1.06KgProvenance: Property of a London private collector; formerly in a European collection; acquired from Peter Ing till collection in early 2000s (Vienna). Formerly in an old Austrian collection.

Ca. 600-800 AD.A stunning gold cruciform pendant with a rounded suspension loop, arms of approximately equal length, slightly flaring toward the ends. In the centre of the cross is an emerald cabochon within a rondel formed of filigree decoration. Each arm is elegantly ornamented with a pair of scrolls. The Cross, the principal symbol of Christianity, recalls the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign of Christ himself and Christians' faith. This item is fully wearable and it comes with a modern necklace cord.Size: L:32.4mm / W:23.8mm ; 7.66gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.

Ca. 900-1200 AD.A ceramic "Greek fire" hand grenade comprising a globular body with a pointed base and a domed lid. The vessel is decorated with a pattern of stamped and incised decoration. It is believed that vessels such as this one contained an incendiary agent known as "Greek fire", which, since it was impervious to water, made these vessels invaluable weapons in naval battles. Unfortunately, the exact composition of the Greek fire is unknown. However, scholars posit that the mixture was composed of pine resin, naphtha, quicklime, and sulphur. To find out more about Greek fire grenades, see Crosby, A. (2002). Throwing fire: Projectile technology through history. Cambridge: Cambridge University Press. This item comes with a custom-made display stand.Size: L:65mm / W:100mm ; 288gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 900-1200 AD.A ceramic "Greek fire" hand grenade comprising an elongated barrel-shaped hollow vessel with a short neck, and flaring shoulders, decorated with linear and circular motifs. "Greek Fire" was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water. This item comes with a custom-made display stand.Size: L:65mm / W:140mm ; 378gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 900-1200 AD.A cream-coloured "Greek fire" hand grenade comprising a domed lid and a faceted body decorated with linear, circular, and chevron motifs, which tapers into a pointed base. It is believed that vessels such as this one contained an incendiary agent known as "Greek fire", which, since it was impervious to water, made these vessels invaluable weapons in naval battles. Unfortunately, the exact composition of the Greek fire is unknown. However, scholars posit that the mixture was composed of pine resin, naphtha, quicklime, and sulphur. To find out more about Greek fire grenades, see Crosby, A. (2002). Throwing fire: Projectile technology through history. Cambridge: Cambridge University Press. This item comes with a custom-made display stand.Size: L:60mm / W:160mm ; 836gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 800-1000 AD.A ceramic grenade also referred to as "Greek Fire". This hollow vessel is acorn-shaped with a short neck and a domed rim. The body is decorated with a pattern of linear and circular stamped decoration. "Greek Fire" was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water. This item comes with a custom-made display stand.Size: L:80mm / W:140mm ; 654gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 500-700 AD.A Byzantine gold ring featuring a discoid bezel joined to a solid round-section hoop, and decorated with a niello-inlaid design of a cruciform monogram in the form of a cross. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. For similar rings see: Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994.Size: D: 15.09mm / US: 4 / UK: H 1/2; 13.13g.Provenance: Formerly in a collection of W. Victor Hruby, 1984.

Ca. 600 AD.A gold finger ring of a flat-section hoop with wide, supportive shoulders. The bezel is set with an amethyst intaglio engraved with Chi-Rho, one of the earliest forms of Christogram, formed by superimposing the first two (capital) letters — chi and rho (??) of the Greek word ??????? (Christos) in such a way that the vertical stroke of the rho intersects the center of the chi. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 16.5mm / US: 6 / UK: M; 8g.Provenance: Private UK collection; From an old Oxford collection formed in the 1990s; Ex. Swiss private collection.

Ca. 600 AD.A gold pendant in the form of a disc. It features a garnet cabochon flanked by a ropework border and two loops with attached gold wire rods with three glass beads in blue, red, and green colour. This item is fully wearable and comes with a modern necklace cord.Size: L:27.8mm / W:12.8mm ; 5.65gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Ca. 1069 BC-664 BC.A stone scarab with well-modelled body, perforation for suspension, and engraved underside. Scarabs, from Latin scarabaeus (“beetle”), which in turn comes from Greek karabos (“beetle”; “crayfish”), were artistic depictions of the Egyptian dung beetle. In Egyptian mythology, these insects were linked to the Sun God Ra, who after his death in the Underworld, was reborn as a scarab. Used as amulets, seals, and to fulfil commemorative functions, scarabs were an important element of dress. Their undersides frequently feature hieroglyphic or geometric designs to identify their owners or ward off evil spirits. See K. M. Kooney (2008). ‘Scarabs,’ in The UCLA Encyclopaedia of Egyptology, available online at https://escholarship.org/uc/item/13v7v5gd Fair condition.Size: L:23.1mm / W:17.7mm ; 8.08gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Ca. 300-100 BC.A finely rendered Greek Hellenistic gold disc-shaped brooch/pendant, hammered from a thin sheet of gold, with an agate eye to the centre, along the brooch thirteen pyramid-shaped filigree separate, clusters of filigree decoration. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:44mm / W:44mm; 12.3g.Provenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).

Ca. 300 BC.A gold pendant plaque with granulated rim and applied opposing loops. The upper face intricately decorated with filigree coils and scrolls between central, round garnet and radiating piriform emerald stones and cabochons set in cells with serrated edges. Undecorated reverse. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:46mm / W:30mm ; 5.35g.Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 100-300 AD.A beautiful gold ring with a round hoop and a large bezel setting featuring an engraved figure of seated Themis holding her characteristic Scales of Justice. In Graeco-Roman religion, Themis was a Titaness, who personified divine order, fairness, law, natural law, and custom. This beautiful item probably belonged to an ancient magistrate, charged with overseeing the administration of justice. Excellent condition; wearable.Size: D: 17.97mm / US: 7 3/4 / UK: P 1/2; 14.8gProvenance: Property of a Sussex Gentleman, S.C. previously with a London gallery.

Ca. 100-300 AD.A wearable gold ring with an ellipsoid hoop widening at the shoulders, which are embellished with parallel grooves, and a bezel with inset oval garnet gemstone with an intaglio depicting a left-facing female bust, flanked by quiver and arrows; the latter lead to identifying this female portrait as a depiction of the Roman goddess Diana. Good condition, repaired. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemmological and historical report by an independent specialist Anna Rogers. In Roman art, Diana usually appears as a huntress with a bow and quiver, accompanied by a hound or deer. In Rome, the most important temple of Diana was on the Aventine. This temple housed the foundation charter of the Latin League and was said to date back to King Servius Tullius (6th century BC). Another important centre for the worship of Diana was Ephesus, where the Temple of Artemis (or Diana) was one of the Seven Wonders of the World.Size: D: 16.51mm / US: 6 / UK: M; 10.5g.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.

LOUIS VUITTON VIP Geschenk - Sammlerstück. Fein gearbeiteter Heißluftballon in Royalblau mit goldfarbenen Details. Fächerartig designed mit transparenten Schnüren und Monogram-Anhängern. Höhe ca. 42cm. | LOUIS VUITTON VIP gift - collector's item. Finely crafted hot air balloon in royal blue with gold-coloured details. Fan-like design with transparent strings and monogram pendants. Height approx. 42cm.

HERMÈS Handtasche "SAC KELLY II SELLIER 32". Koll. 2022 - Z Stempel. Limitierte Edition - Sammlerstück. Toile H Berline / Veau Swift in Orange Mecano. Canvas in Bicolor (Beige und Rot). Hardware mit Palladium Auflage. Mit einem Außenfach auf der Rückseite. Neuwertiger Zustand, Hardware noch verklebt. Tasche ist im Full Set (Box, Staubbeutel, Clochette, Schloss, Schlüssel, Schulterriemen, Raincase und Rechnung). | HERMÈS handbag "SAC KELLY II SELLIER 32".Coll. 2022 - Z stamp. Limited edition - collector's item. Toile H Berline / Veau Swift in Orange Mecano. Canvas in bicolour (beige and red). Hardware with palladium overlay. With one outside pocket on the back. Mint condition, hardware still glued. Bag is in full set (box, dust bag, clochette, lock, key, shoulder strap, raincase and invoice).

Militaria Ausland - Frankreich : Schwert zur kleinen Uniform (Glaive de Petit Apparat), für einem Mitglied des Direktoriums, Exemplar aus dem Besitz Paul Barras (ex Collection Bernhard Franck). Griff aus ziselierter, vergoldeter Bronze. Klinge mit der Inschrift: "Pour la Nation - Vaincre ou Mourir" (Für die Nation - Sieg oder Tod). Scheide aus vergoldeter Bronze mit granatrotem Samtboden. Dieses Schwert stammt aus dem Nachlass von Grand de Deydem, dessen Vorfahre der Adjutant von Paul Barras war (Verkauf nach dessen Tod, 28. Mai 1921, Hôtel Drouot, Nr. 103 des Katalogs). Paul-François-Jean-Nicolas, Vicomte de Barras (* 30. Juni 1755 in Fox-Amphoux; ? 29. Januar 1829 in Chaillot) war ein französischer Politiker und Mitglied des Direktoriums, in dem er als einziger von 1795 bis zu seiner Auflösung 1799 durchgehend Mitglied war. Es war Zufall, dass er am 14. Juli 1789 Zeuge des Sturms auf die Bastille wurde. Bis dahin hatte der Vizegraf de Barras keine festen politischen Ideen. Er traf Mirabeau bei Sophie Arnould. Vielleicht war es dieses Treffen, das ihn dazu veranlasste, sich der Freimaurerei und dann dem Jakobinerklub anzuschließen und als Republikaner in die Politik einzusteigen. Als Kandidat für die Legislative für das Département Var scheiterte er. Er wurde danach jedoch Mitglied des Nationalen Hochgerichtes in Orléans. Nachdem dieses aufgelöst war, kehrte er nach Paris zurück und wurde zum Kommissar der italienischen Armee ernannt. Die Wahl zum Nationalkonvent von 1792 glückte dann und er stimmte für die Hinrichtung Ludwigs XVI. Er beteiligte sich 1794 maßgeblich am Sturz Robespierres vom 9. Thermidor. Er wurde später Präsident des Nationalkonvents. 1795 stand Barras als einer der ersten fünf Direktoren an der Spitze des Staates. Nach dem Staatsstreich des 18. Fructidor V (4. September 1797) übernahm das Triumvirat aus Barras, Louis-Marie de La Révellière-Lépeaux und Jean François Reubell die Macht im Direktorium. Joséphine de Beauharnais, die spätere Frau von Napoleon Bonaparte, war seine Geliebte. Barras förderte den jungen General, der für ihn in Paris einen royalistischen Aufstand gegen das Direktorium niedergeschlagen hatte, indem er ihn mit der Führung der Italienarmee beauftragte und später die Ägyptische Expedition unterstützte. Napoleons Staatsstreich des 18. Brumaire VIII (1799) zwang Barras jedoch zum Rücktritt. Barras hatte sowohl Napoleons als auch Joseph Fouchés Aufstieg begünstigt, was die beiden nicht daran hinderte, ihn abzusetzen und in die Verbannung zu schicken. Erst nach Napoléons Abdankung kehrte Barras wieder zurück, obwohl er auch als Königsmörder (Régicide) stigmatisiert war. Provenienz: Nachlaß Grand de Deydem Auktion 28. Mai 1921, Hôtel Drouot, Nr. 103 des Katalogs. Sammlung Bernard Franck, Auktion bei Hotel Drouot Paris, 3. und 4. April 1935 "Collections Bernard Franck (Quatrième Vente) Èpoque Révolution, Los 191. Das Schwert wird im Titelblatt der Auktion als eines der "Highlights" genannt und ist auf S. 23 - 25 abgebildet und beschrieben. Der Originaltext des Kataloges lautet: "Glaive de Petit Apparat, de Membre du Directoire, ayant appartenu à Barras. Poignée en bronze ciselé, doré. Lame portant l'inscription: "Pour la Nation - Vaincre ou Mourir". Fourreau en bronze doré, à fond de velours grenat. Provient de la Succession Grand de Deydem, dont l'ancêtre était l' Aide de Camp de Barras. (Vente après décès, 28. mai 1921, Hôtel Drouot, no. 103 du catalogue)." Bedeutende Blankwaffe eines der bekanntesten Führer der Französischen Revolution und ein historisches Liebhaberstück von musealem Wert.Foreign Militaria - France : Sword to the small uniform (Glaive de Petit Apparat), for a member of the Directory, from the estate of Paul Barras (ex Collection Bernhard Franck). Handle of chiselled, gilt bronze. Blade with the inscription: "Pour la Nation - Vaincre ou Mourir" (For the Nation - Victory or Death). Scabbard of gilt bronze with a garnet red velvet base. This sword comes from the estate of Grand de Deydem, whose ancestor was the aide-de-camp of Paul Barras (sold after his death, 28 May 1921, Hôtel Drouot, no. 103 of the catalogue). Paul-François-Jean-Nicolas, Vicomte de Barras (* 30 June 1755 in Fox-Amphoux; ? 29 January 1829 in Chaillot) was a French politician and a member of the Directory, of which he was the only member continuously from 1795 until its dissolution in 1799. It was by chance that he witnessed the storming of the Bastille on 14 July 1789. Until then, the Vice-Count de Barras had no firm political ideas. He met Mirabeau at Sophie Arnould's house. Perhaps it was this meeting that led him to join Freemasonry and then the Jacobin Club and to enter politics as a republican. He failed as a candidate for the legislature for the Var department. However, he subsequently became a member of the National High Court in Orléans. After this was dissolved, he returned to Paris and was appointed commissioner of the Italian army. He then succeeded in being elected to the National Convention of 1792 and voted for the execution of Louis XVI. He took a leading part in the overthrow of Robespierre from the 9th Thermidor in 1794. He later became president of the National Convention. In 1795, Barras was one of the first five directors of state. After the coup d'état of 18 Fructidor V (4 September 1797), the triumvirate of Barras, Louis-Marie de La Révellière-Lépeaux and Jean François Reubell took power in the Directory. Joséphine de Beauharnais, later Napoleon Bonaparte's wife, was his mistress. Barras promoted the young general who had put down a royalist uprising against the Directory for him in Paris, putting him in charge of the Italian army and later supporting the Egyptian Expedition. Napoleon's coup d'état of 18 Brumaire VIII (1799), however, forced Barras to resign. Barras had favoured both Napoleon's and Joseph Fouché's rise, which did not prevent the two from deposing him and sending him into exile. Barras only returned after Napoléon's abdication, although he was also stigmatised as a regicide (Régicide). Provenance: Grand de Deydem estate auction 28 May 1921, Hôtel Drouot, no. 103 of the catalogue. Bernard Franck Collection, auction at Hotel Drouot Paris, 3 and 4 April 1935 "Collections Bernard Franck (Quatrième Vente) Èpoque Révolution, lot 191. The sword is mentioned in the title page of the auction as one of the "highlights" and is illustrated and described on pp. 23 - 25. The original text of the catalogue reads: "Glaive de Petit Apparat, de Membre du Directoire, ayant appartenu à Barras. Poignée en bronze ciselé, doré. Lame portant l'inscription: "Pour la Nation - Vaincre ou Mourir". Fourreau en bronze doré, à fond de velours grenat. Provient de la Succession Grand de Deydem, dont l'ancêtre était l' Aide de Camp de Barras. (Vente après décès, 28. mai 1921, Hôtel Drouot, no. 103 du catalogue)." Important edged weapon of one of the most famous leaders of the French Revolution and a historical collector's item of museum value.

Ausländische Orden & Ehrenzeichen - Grossbritannien : Geschenkdekoration des Prinzregenten (König Georg IV.) von Großbritannien. Ovales Kleinod in plastischer Goldschmiedearbeit von der Königskrone überhöht. Auf der Vorderseite in feiner Emaillearbeit auf granuliertem Untergrund der aus einer Gewitterwolke mit Blitzen ragende geharnischte Arm mit einem Schwert (Symbol des Krieges) und Spruchband mit der Devise: DIEU ET MON DROIT" (Devise des englischen Königs). Das Medaillon umgeben von einem separat aufgelegten plastischen Lorbeerkranz in grüner Emaille. Die Rückseite mit einer aus Wolken ragenden Hand mit einem Olivenzweig (Symbol des Friedens und Bandeau: "BEATI PACFICI" (Gesegnet sei der Friedensstifter). Das Medaillon umgeben von einem plastisch grün emaillierten Lorbeerkranz. Bedeutende Insignie, die in der ovalen Form an die Dekorationen der Ordensbeamten der britischen Orden aber auch an die Ordenskleinodien des Garter, Thistle, Patrick und Bath Ordens erinnert. Die beeindruckenden Juweliersqualität dieses königlichen Geschenks legt die Vermutung nahe, daß es sich um eine Dekoration für einen hohen Diplomaten, vielleicht im Zusammenhang der Friedensverhandlungen des Wiener Kongresses 1815, handeln könnte. Einmaliges historisches Liebhaberstück. 76 x 45 mmForeign Orders & Decorations - Great Britain : Presentation Jewell of the Prince Regent (King George IV.) of Great Britain. Oval jewel in finest sculptural goldsmithcraftmanship surmounted by the royal crown. On the obverse in fine enamel work on granulated background the armored arm with a sword (symbol of war) rising from a thundercloud with lightning and banner with the motto: DIEU ET MON DROIT" (motto of the English king). The medallion surrounded by a separately applied laurel wreath in green enamel. The reverse with a hand rising from clouds with an olive branch (symbol of peace) and bandeau: "BEATI PACFICI" (blessed be the peacemaker). The medallion surrounded by a plastic green enameled laurel wreath. A truely magnificent piece of insignia, the oval shape of which is reminiscent of the sash badges of the Garter, Thistle, Patrick and the Order of the Bath as well as of the Officer's badges of these British Orders. The impressive jeweler's quality of this royal presentation jewell suggests that it may have been a decoration for a senior diplomat, perhaps in connection with the peace negotiations of the Congress of Vienna in 1815. Unique historical collector's item. 76 x 45 mm

From (very) long-term storage, just 196 miles from new and now fully refreshed in gleaming Snapdragon Yellow.Very late production car with the revised dashboard, four-spoke steering wheel and Silver Grey and Black 'deck chair' trimSupplied new by Gibbs of Feltham and found its way to Scotland where it resided for many yearsWhen purchased by our vendor with 181 miles indicated, the paintwork had started to react to the weather. Consequently the car was stripped to bare metal and refinished in its original colour of Snapdragon YellowAdditionally the engine was given a precautionary rebuild, new tank and fuel lines fitted, the brakes fully overhauled and everything else gone through to bring the little yellow 'B' back to lifeThe internal paintwork, engine bay and boot are as original and untouched, and the hood and tonneau cover are as newSupplied with a Heritage Certificate and a small history file, mainly restoration invoicesWith just 196 miles in 42 years, it now has a new lease of life, either as a pure collectors item or simply to use and enjoyThis is a once in a lifetime opportunity to own such a miniscule mileage MGB at a sensible guide SpecificationMake: MGModel: BYear: 1980Chassis Number: GVADJ1AG514187Registration Number: PLR 420WTransmission: ManualEngine Number: 35588Drive Side: Right-hand DriveOdometer Reading: 196 MilesMake: RHDInterior Colour: Silver Grey/Black 'Deckchair'Click here for more details, condition report and images

Oak tester bed, triple inlaid panelled back and carved lozenge panelled canopy. 250 x 154 x 220cm. (sold as seen, this item is unassembled, but we have included an image of the bed assembled but can offer no guarantee that it will assemble as such)

A THANGKA OF GURU DRAGPO, 18TH-19TH CENTURY 十八至十九世紀忿怒蓮師唐卡Tibet. Distemper on cloth. The wrathful three-headed deity with Garuda wings, striding with his consort in alidhasana on prostrate figures atop a lotus throne in a flaming mandorla, holding a vajra, a skull cup and other ritual implements in his hands, dressed in a tiger skin. The bottom of the picture with dancing Dakinis and patron deities.Provenance: From a noted Hungarian private collection. Condition: Good condition with old wear, some soiling, minuscule losses and creases. The cotton mounting with tears, wear, losses, and loose threads. Dimensions: Image size 50.5 x 35.5 cm, Size incl. frame 98 x 61.5 cmGuru Dragpo, also referred to as Guru Drakpoche, is a meditational deity form of Padmasambhava, in his most wrathful Heruka form. A Heruka, or 'blood drinker', usually refers to wrathful male deities, often with three faces, six arms, four legs, wings, and a consort, who adopt a fierce countenance to benefit sentient beings. Literature comparison: Compare a related thangka, dated to the 18th century, in the collection of the Rubin Museum of Art, accession number P1998.30.1, also published on Himalayan Art Resources, item no. 788.Auction result comparison: Compare with a related thangka of Guru Dragpoche, but without consort, at Sotheby's New York in The Jucker Collection of Himalayan Paintings on 28 March 2006, lot 97, sold for USD 27,000.十八至十九世紀忿怒蓮師唐卡西藏，布面膠畫。蓮師三首六臂與四足，翅膀張開，身著虎皮裙，拿著斧頭、金剛杵、頭骨杯和蝎子，擁抱著他的佛母。兩人站立於蓮座上，火焰光背，腳踩魔鬼上。畫面底部可見跳舞的空行母和守護神。 來源: 匈牙利知名私人收藏。 品相: 狀況良好，磨損，一些污漬，微小的缺損和摺痕。錦框帶有撕裂、磨損、缺損和絲線鬆弛。 尺寸: 畫面尺寸 50.5 x 35.5 厘米, 總98 x 61.5 厘米 拍賣結果比較: 比較一件相近的忿怒蓮師唐卡，見紐約蘇富比 The Jucker Collection of Himalayan Paintings 2006年3月28日 lot 97, 售價USD 27,000。

Ɏ AN IVORY FIGURE OF KRISHNA VENUGOPALA, PLAYING THE FLUTEIndia, 16th-17th century. Carved standing, his arms raised to the side to play the flute, the wavy hair cascading down the back and surmounted by a high chignon, adorned with beaded jewelry, a scarf wrapped around his arms, the face with a calm expression marked by almond-shaped eyes and full lips.Provenance: French trade. By repute from an old private estate in Paris. Condition: Extensive natural wear. Some losses, expected minor age cracks, small chips, minuscule nicks. Remarkably beautiful honey-brown patina, grown naturally through centuries of worship and handling.Weight: 25.2 g Dimensions: Height 7.8 cmTrade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0437). Literature comparison:Compare a related ivory figure depicting Krishna as butter thief, dated to 16th century, India, Karnataka, Mysore, in the collection of the Los Angeles County Museum of Art (LACMA), accession number M.84.34.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 24 March 2011, lot 101Price: USD 60,000 or approx. EUR 77,000 converted and adjusted for inflation at the time of writingDescription: Krishna Venugopala, ivory, South IndiaExpert remark: Compare the closely related pose and similar decorations. Note the considerably larger size (20 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

Ɏ A RHINOCEROS HORN ARCHAISTIC LIBATION CUP, JUE, EARLY QING DYNASTY 清初螭龍紋犀角杯China, 17th to early 18th century. Finely carved, one side of the vessel with a flattened spout, the other slightly raised and tapering into a wide curve. The lip surrounded by a wave border incised in shallow relief. The body carved with two sinuous chilong holding branches of lingzhi in their mouths. The rhinoceros horn of a deep honey color, darkening towards the legs, and with a silky, naturally grown patina.Provenance: From the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was a State Magistrate in the Civil Service in India from 1928 and 1949. After retiring he returned to Edinburgh, Scotland. Condition: Some losses to lip and body, minor age cracks. Absolutely untouched original condition.Weight: 133.5 gDimensions: Height 12.3 cmThe present libation cup, superbly carved in the form of the well-known bronze ritual vessel jue, exhibits an exceptional level of skill exercised by the carver, who used the highly complex technique of bending different sections of the split horn outwards to form the three splayed blade legs.Literature comparison: See T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, page 93, lot 46, for a similar libation cup from the collection of Chun-hung Li. Compare a rhinoceros horn jue decorated with a taotie design illustrated in The Complete Collection of Treasures of the Palace Museum, Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 205, together with a four-legged ding form cup, pl. 206, and a tripod ding vessel, pl. 207.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2011, lot 2710 Price: HKD 2,420,000 or approx. EUR 413,500 converted and adjusted for inflation at the time of writing Description: A rhinoceros horn 'jue' libation cup, 17th centuryExpert remark: Compare the related color of the horn, splayed legs, and chilong decoration. Note the size (11 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 197Price: USD 182,500 or approx. EUR 230,500 converted and adjusted for inflation at the time of writingDescription: A rare rhinoceros horn archaistic libation cup (jue), Qing dynasty, 17th century Expert remark: Compare the related color of the horn and splayed legs. Note the size (10.2 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.清初螭龍紋犀角杯中國，十七至十八世紀初。爵形杯，雕刻精美，杯子一側的杯流扁平，另一側略微凸起並逐漸變細。杯口外壁淺浮雕波浪紋，外壁浮雕兩條螭龍，嘴裡叼著靈芝。犀角杯呈深蜜色，向腿部往下逐漸變深，並帶有絲般的光澤。 來源：Malcolm Moncrieff Stuart 收藏，OBE，CIE，保存至今。Stuart曾從 1928 年到 1949 年，擔任印度州治安法官。退休後，他回到了蘇格蘭的愛丁堡。 品相：杯口和杯體有局部磕損，輕微的年代裂縫。原始狀況。 重量：133.5 克 尺寸：高 12.3 厘米 文獻比較： 一件相似的犀角杯，Chun-hung Li收藏，見 T. Fok，《Connoisseurship of Rhinoceros Horn Carving in China》，頁93，lot 46。比較一件饕餮紋犀角爵，見《故宮博物院藏珍品全集‧竹木牙角雕刻》，上海，2001年，編號205，與一件四足鼎杯，編號206，和三足鼎，編號207。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2011年4月7日，lot 2710 價格：HKD 2,420,000（相當於今日EUR 413,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色、杯腳外撇和螭龍裝飾。請注意尺寸(11厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2012年3月20日，lot 197 價格：USD 182,500（相當於今日EUR 230,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色和杯腳外撇。請注意尺寸(10.2厘米)。

Ɏ A RARE HORNBILL 'SANXING' SNUFF BOTTLE, EARLY 19TH CENTURY 十九世紀罕見鶴頂紅鼻烟壺Opinion: The superb color and excellent polish of the present bottle suggest that it was created by using the ancient and today lost method of treating hornbill (see detailed note below), giving the material a rich translucency and protecting it from cracking over time. The carved decoration is well rendered and rare to find in such an elaborate manner on hornbill snuff bottles. Finally, the ovoid form, quite different from the rectangular forms commonly found, indicates that this is an early yet fine example from this rare group.China. Well hollowed, the ovoid body supported on a short oval foot and rising to a cylindrical neck with everted rim. Finely carved in relief to one side with the three star gods, the Sanxing, seated in a relaxed manner and holding wine cups, and to the other with Shoulao tending to his deer while his attendant is holding his cane with the double gourd, the shoulder and neck carved continuously with five bats amid clouds. The short sides each with a large double gourd vessel retaining the characteristic deep red color of the outer sheath layer of the hornbill, creating a unique contrast to the inner layer of translucent honey-yellow to pale cream tone.Provenance: Collection particuliere dans le departement Eure-et-Loir, France.Condition: Very good condition with significant old wear, natural imperfections to the material, few microscopic age cracks, and few minuscule nicks. Magnificent natural patina overall.Stopper: Translucent reddish-amber hardstone with black platelet, fine hornbill spoonWeight: 23.9 g Dimensions: Height including stopper 61 mm, Diameter neck 13 mm and mouth 5 mmHornbill was a highly valued material in China well before snuff bottles came into fashion in the Qing dynasty, after tobacco was introduced from the West in the early 18th century. The precise value is listed in the official regulations of the Ming dynasty, which set it for a single piece of 'ho-ting' (the term given to the material by Ming scholars, writing it with the characters for 'crane' and for 'head') at a thousand cash, the same amount given for half an ounce of precious coral beads, or a fifth of an ounce of rare seed pearls. This also shows that hornbill was worth far more than elephant ivory at that time, for the latter was valued at five hundred cash per pound, while it would have taken a great many pieces of ho-ting to make a pound, especially since the term was sometimes applied to the red sheathing alone.It is thought that there were once two distinct methods of treating hornbill, the solid casque with the tough red sheath that sits atop the upper beak, protecting the brain of the bird. The secret of the first method appears to have been lost but may have involved heating and perhaps permeating the material with some preservative. All known early pieces seem to have been handled this way, including snuff bottles. This treatment preserves the material very well, giving it a rich translucency and strength. We can only infer this preliminary manipulation from the finished product, since no direct information about the techniques of treating hornbill ivory has been recorded. Any special methods used by Chinese craftsmen were always kept as closely guarded secrets, by the guilds involved, to forestall outside competition. The second method involved carving the material directly, which left the surface prone to cracking.Auction result comparison: Type: Related Auction: Christie's New York, 10 September 2007, lot 707 Price: USD 67,000 or approx. EUR 82,700 converted and adjusted for inflation at the time of writing Description: A Very Rare And Superbly Carved Hornbill Snuff Bottle, 1820-1840 Expert remark: Compare the material, carving and treatment technique, as well as the characteristic deep red color of the outer sheath layer, creating a unique contrast to the inner layer of translucent honey-yellow to pale cream tone.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.十九世紀罕見鶴頂紅“福祿壽三星”鼻烟壺中國。掏膛良好，直頸，扁平，削肩，橢圓形圈足。一面浮雕福祿壽三星悠閒端坐，端著酒杯；另一面壽老撫鹿，身側侍者手持葫蘆與手杖，身邊飛舞著五隻蝙蝠。兩側各有一個大葫蘆，保留了鶴頂紅特有的深紅色，與半透明的蜜色內層形成獨特的對比。 專家注釋：此鼻烟壺色澤上乘瑩潤，表明它是使用已失傳的鶴頂紅角處理方法製成的，使材料具有半透明性，並防止其隨著時間的推移而開裂。鶴頂紅鼻烟壺上的浮雕精美，難得一見。最後，與常見的矩形完全不同的卵形表明這是一件鶴頂紅雕刻初期的產物。 來源：法國 Eure-et-Loir省私人收藏。品相：品相極好，有明顯的磨損，材料自然瑕疵，輕微年代裂縫和小劃痕。整體呈現瑩潤的自然包漿。 壺蓋：半透明琥珀色硬石，黑色托片，鶴頂紅雕小勺 重量：23.9 克 尺寸：高 （含蓋）61 毫米，頸部直徑13 毫米及壺口直徑5 毫米 由於字數限制，完整中文敘述請至www.zacke.at查看。

Two Chinese symbols. Comprising two Far Eastern possibly Singapore yellow metal pierced-disc pendants. One with a central swing Chinese(?) character within an engraved broad frame, three indistinct Chinese(?) character marks verso, approx. 44mm diameter, 20.8g; the other centred with Chinese(?) characters within an engraved broad frame, three indistinct Chinese(?) marks verso, approx. 44mm diameter, 7.4g. Condition Report: These two pendants have been independently tested and suggest a gold content of around 19.5 - 20cts. Please satisfy yourself and bid accordingly. We will not accept the return of this item at a later date based on a difference of opinion contrary to the above.

A 19th century Continental gold filigree panel bracelet. In the form of nine articulated square panels each decorated with a central bead within an open filigree quatrefoil, the ninth panel forming the clasp, safety chain and figure-of-eight safety clasp, apparently unmarked, approx. 19cm long overall, 46.5g Condition Report: Overall very good condition, generral wear and tear commensurate with age and use.Each panel approx 19.5mm x 20mm overall.This bracelet has been independently tested and suggests a gold content of around 15cts and later gilded to a higher standard of gold. Please satisfy yourself and bid accordingly. We will not accept the return of this item at a later date based on a difference of opinion contrary to the above.

MARVEL COLLECTOR'S ITEM CLASSICS - #1, 3, 4, 5, 6, 7, 8, 9, 12, 13, 14, 16, 18, 19, 20 (15 in Lot) - (1965/1969 - MARVEL) Includes the first US reprint of the first appearance of Doctor Strange from Strange Tales #110 - Flat/Unfolded

Selection of silver items to include 2 napkin rings Sheffield 1918, three salt & pepper shakers Birmingham 1906 and1912 one indecipherable tallest 10cm, one small specimen vase Birmingham 1902, Vesta case Birmingham 1903, soap dish with silver mark to top London 1909, Pipe with sterling silver rim and one other silver item along with four plated items.

A mid-19th century comb-back Windsor armchair of good colour and large proportions: yew wood bows and pierced splat above shaped and patinated elm seat, turned slightly splaying legs united by a crinoline stretcher (57.5 cm widest point at arms x 108 cm high)Condition Report: Dimensions: arms 57cm wide x 108cm high to top of back x 51.5cm wide (seat) x 44cm height of the seat.  The item is not perfect: there is 5cm crack to the top rail and behind that a 20cm fillet let-in (much darker) visible from the top. The front view: 4cm split on the arm terminal. The seat appears OK, some small splits to the uprights. Front right leg some splitting to the leg. Historic repair to the right-hand vertical upright under the arm. Crinoline stretcher has also been repaired at the back (was badly split) and to the back of the front legs. Overall a nice looking chair with a good colour but not without issues.

A 19th century cylindrical rivetted-copper coal bucket with iron swing-handle (35.5 cm diameter x 31.5cm high)Condition Report: many small minor dents commensurate with age, rivets appear good throughout. Swing handle hand-wrought. Very pleasing item.

Garden ornament modelled as a pig together with another item.

Early 19th century portrait miniature, watercolour on ivory of the Tudor soldier, statesman and poet Sir Philip Sidney wearing a gorget, a piece of neck armour and a doublet of white slashed leather 13cm x 10cm, housed in ornate gilt Florentine frame.This item has been registered for sale under Section 10 of the APHA Ivory ActCondition Report:Ivory Act - Old Submission reference: G9L68ECT New Submission reference: ZFDF8C9G

19th century oval portrait miniature, watercolour on ivory of a military officer in scarlet tunic 6cm x 5cm. This item has been registered for sale under Section 10 of the APHA Ivory ActCondition Report:Ivory Act - Submission reference: 881ZPTMY

19th century oval portrait miniature, watercolour on ivory of a Naval officer 7cm x 5.5cm. This item has been registered for sale under Section 10 of the APHA Ivory ActCondition Report:Ivory Act - Submission reference: TZ27VSSL