A collection of four German porcelain figures,comprising a Meissen figure of a lady holding an orb, late 19th to early 20th century, with crossed swords mark and incised L63, 20.5cm high, an Edme Samson figure of a boy holding a cockerel, underglaze mark, 13.7cm high, a Vienna porcelain bust of Princess Marie, with an underglaze blue 'beehive' mark, 13cm high, and a German porcelain figure, depicting a chest beside a chest of drawer, scored out Berlin mark, 11.5cm (4)Condition ReportMeissen) Lacking item in her left hand, possibly a sceptre. Some wear to the gilding.Samson) Both feet have been broken, one retained and glued. A manufacturing firing crack to one of the legs.Princess Marie) Feathers to the head have been restored. Some losses to the encrusted flowers. Minor nibbles to the foot rim.
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A violin bow,stamped 'FR Wunderlich, Leipzig' and 'FWL' within an oval, with octagonal stick, plain ebony frog and unmarked silver mounts, with ivory tip, 74cm long, approx. 58 grams IMPORTANT NOTEThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018, on account of it being a musical instrument made before 1975 with less than 20% ivory by volume. Ivory declaration submission reference: 1A8W7XS4.Condition ReportIn need of re-hairing. There is a twist to the stick but it does not appear to be too bad. Clear signs of use but not abuse.
English School, 19th century,a girl playing a mandolin,watercolour on ivory,13 9.5cm,another oval,watercolour on card,7.5 x 5.5cm andanother on card, in a gilt metal frame,7 x 5cm (3) IMPORTANT NOTEThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018, on account of it being a portrait miniature made before 1918 with a surface area smaller than 320 square centimetres. Ivory declaration submission reference: GJ5LME8X.Condition Report1. Frame rubbed.2. Faded.3. No obvious major faults.
A Victorian collectors cabinet19th Century, with arching panelled doors opening to reveal 32 graduated drawers each with turned ivory pulls all over a single long drawer to the plinth,90cm wide56cm deep135.5cm high IMPORTANT NOTEThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018, on account of it being made before 3 March 1947 with less than 10% ivory by volume. Ivory declaration submission reference: K2LQW326.Condition ReportLosses to the ivory pulls throughout. Knocks and wear to the exterior. Handle to the door has been reattached. Slight loss of veneer to the doors. Alteration to the left-hand door due to there being a redundant key escutcheon.
An ash press in the Arts & Crafts style,late 19th century, in the manner of Charles Bevan, with a castellated cornice over panelled doors enclosing a central mirrored door, raised on short tapering feet,183cm wide57cm deep233cm highBuying this press at auction could save up to 0.46 tonnes of CO2e compared to buying it new.Condition ReportDrawers function. Knocks, wear and scuffs throughout commensurate with age, use and the nature of the item. The cornice, base and the body all split for transport.
SIR PAUL AND LINDA MCCARTNEY OWNED LX50 TELESCOPE. A 10" LX50 Meade Cassigrain Telescope, once owned and used by Paul and Linda McCartney at their Peasmarsh home. The telescope was gifted to the vendor in 2016 by MPL following a spell in storage and prior to this there is an extensive email history mostly circa mid 00s between the vendor and MPL, for whom he was working on modifications to the telescope and software to enable Sir Paul and Linda to more easily use the telescope. The correspondence notes 'great sentimental value' to Sir Paul and Linda and describes how they hoped to make use of it. The telescope is sold with two eye pieces, visual back and finder scope, telescope forks with upgraded motors, heavy duty wedge mounted on a field tripod, box of connecting cables and three controller boxes, a PC installed with all necessary software and a monitor. Note the image showing the telescope with green dome is indicative of how it was stored in Sir Paul and Linda's garden and this green dome is not included in this sale. This item is not suitable for shipping and would require a collection or private courier.
Beda Venerabilis. Homiliae aestivales, de tempore item & sanctis, nunc denuo summa diligentia restitutae. 8 Bl., 625 (recte: 623) S. 14,5 x 9,5 cm. Blindgeprägter Schweinslederband d. Z. (fleckig und berieben) mit hs. Rücken- und Schnitttitel sowie 2 Messingschließen. Köln, Johann Gymnich, 1541. VD16 B 1433. - Einer von zwei im selben Jahr bei Johann Gymnich erschienenen Drucken der Predigtsammlung Beda Venerabilis' (672-735) für den Sommerteil des Kirchenjahres von Ostern bis Advent. - Erste Lage gelockert, Titel mit zeitgenössischem Besitzeintrag. Etwas braun- und fingerfleckig.
(Job, Johann Georg). Anleitung zu denen curiösen Wissenschafften, nehmlich der Physiognomia, Chiromantia, Astrologia, Geomantia, Oniromantia, Onomantia, Teratoscopia, Sympathia und Antipathia. 9 Bl., 488 S., 6 Bl. Mit gestochenem Frontispiz und 31 Kupfertafeln. 17 x 10 cm. Halbleder d. Z. (etwas berieben und bestoßen, mit kl. Lederfehlstellen und kl. Wurmloch) mit montiertem, roten RSchild und goldgeprägtem RTitel und RVerzierungen sowie mit dreiseitigem Rotschnitt. Frankfurt und Leipzig, Christoph Gottlieb Nicolai, 1717.VD18 11001267. Graesse Bibl. mag. 107. Nicht bei Caillet, Rosenthal und Ackermann. - Erste Ausgabe. Umfassendes Handbuch der Wahrsagekunst, das alle Teilgebiete dieser "Wissenschaft" einschließlich der Traumdeutung behandelt. Zeigt u. a., wie man "aus des Menschen Gesichte, Händen und Geburths-Stunden, nach der Sonnen- Mond- und Sternen-Lauf, item Punctiren, Träumen, Nahmen und erscheinenden Wunder-Zeichen ein Prognosticon ... von seinem bevorstehenden Glück und Unglück stellen könne." Es werden auch Onomantie, Teratoskopie, Sympathie und Antipathie behandelt. Die Kupfertafeln zeigen fast ausschließlich chiromantische und astrologische Abbildungen. - Das Frontispiz im oberen Bug mit kleinem Einriss bis in die Darstellung. Durchgehend etwas gebräunt und leicht braunfleckig. Modernes Exlibris, sehr schönes Exemplar.
-- Zeitgenössisch annotiertes Exemplar-- Sachsenspiegel. Mit viel newen Addicionen. Sampt Lantrechts und Lehen rechts richtsteige. Item vil urteilen der werden schoepffen zu Magdenburg, in dreü buecher geteilet. 4 Teile in 1 Band. 4 nn., CXCIIII (recte: 196) num. Bl.; XLIIII num., 4 nn. Bl.; XXIIII num. Bl.; XVIII num., 4 nn. Bl. Titel in Rotdruck. Mit breiter figürlicher Holzschnitt-Titelbordüre von Daniel Hopfer und blattgroßem Textholzschnitt. 30,5 x 20,5 cm. Blindgeprägter Schweinslederband d. Z. (fleckig und berieben, Vorderdeckelbezug mit kleiner Fehlstelle und 2 Knorpeln, ohne die Messingschließen). (Augsburg, Silvan Otmar für Johannes Rynmann, 1517).VD16 D 742. STC 343. - Sehr früher, nach den drei Inkunabelausgaben von 1481, 1484 und 1496 sowie der Ausgabe 1501, die alle in Augsburg erschienen, der fünfte Augsburger Druck des wohl bedeutendsten und ältesten deutschen Rechtsbuchs, mit dem die deutsche Rechtsgeschichte des geschriebenen Rechts und der Jurisprudenz ihren Anfang findet. Der Sachsenspiegel wurde von Eike von Repgow um 1230 in lateinischer Sprache abgefasst und später ins Deutsche übersetzt, der Verfasser selbst fungierte in den Jahren 1209 bis 1233 nachweislich als Schöffe bzw. Ratgeber an den Gerichten."Der Sachsenspiegel ist nicht nur das älteste deutsche Rechtsbuch, sondern zugleich auch das erste Prosawerk in deutscher Sprache und stellt somit ein für seine Zeit einzigartiges Rechts- und Sprachdenkmal dar. Mit ihm beginnt die eigentliche Geschichte des deutschen Rechts und eine deutsche Rechtswissenschaft, und die in ihm niedergelegten Rechtssätze sind so mächtig, dass sie noch nach Jahrhunderten dem eindringenden römischen Recht erfolgreich widerstehen können ... Bereits von etwa 1470-1500 sind 19 verschiedene Druckausgaben des Sachsenspiegels nachzuweisen, der damit an dritter Stelle der gedruckten deutschsprachigen Bücher dieses Zeitraums steht. Die verschiedenen Druckorte bieten zugleich ein schönes Zeugnis für die weite Verbreitung des Rechtsbuches über den norddeutschen Raum hinaus" (Kaspers 35ff.). Die erste datierte Ausgabe war 1474 in Basel erschienen, es folgte 1480 ein Kölner Druck und dann die oben genannten fünf Augsburger Drucke. Exemplar mit dem blattgroßen Textholzschnitt in der Art eines Magister-cum-discipulis Holzschnitts "wie die Juden schweren sollen, und wie ir eid sein soll". - Erste Lage etwas gelockert. Titel, das letzte Blatt vom Register sowie das Schlussblatt (alle verso) mit längeren hs. Tinteneinträgen mit Ausführungen zum Werk. Insgesamt etwas finger- und braun- oder stockfleckig, stellenweise mit leichten Wasserrändern, am Schluss mit etwas deutlicherem Feuchtigkeitsrand, im Seitenschnitt mit einigen teils gelösten Blattweisern. Durchgehend von mehreren Händen auf Deutsch und Latein zeitgenössisch annotiertes Exemplar, davon die ersten ca. 60 Blatt (Buch I vom Landrecht) sehr zahlreich und umfangreich, die Ränder hier häufig fast lückenlos mit teils längeren Ausführungen eng beschrieben. Möglicherweise eine bislang in der Forschung noch nicht berücksichtigte Quelle zur Rezeptionsgeschichte.
Krantz, Albert. Saxonia. De Saxonia gentis vetusta origine, longinquis expeditionibus susceptis, et bellis domi pro libertate diu fortiterque gestis. Denuo, & quidem accuratius emendatiusque; quàm antè, edita. Cum praefatione D. Nicolai Cisneri. 12 Bl., 354 S., 17 Bl. Mit 2 Holzschnitt-Druckermarken. 34 x 22 cm. Flexibler Pergamentband d. Z. mit hs. RTitel. Frankfurt, Andreas Wechel, 1575. VD16 K 2259. STC 477. - Dritter Druck der zuerst 1520 in Köln bei Johann Soter erschienenen Sachsenchronik, eines der wichtigen historischen Werke des spätmittelalterlichen Theologen und "Geschichtsschreibers des Nordens" Albert Krantz (1448-1517): "Bei der Nachwelt ist Krantz besonders als Geschichtschreiber berühmt geworden. Während seines Lebens erschienen von ihm außer einigen grammatischen und philosophischen eine Reihe theologischer und kirchlicher Schriften; aus seinem Nachlaß wurden vier umfangreiche historische Arbeiten, die 'Vandalia', die 'Saxonia', die 'Dania' und die 'Metropolis', herausgegeben und erschienen dann theilweise bis in 17. Jahrhundert hinein in mehrfach wiederholten Auflagen. Sie beruhen auf umfassenden Studien, für welche er schon von früh an auf seinen Reisen Archive und Bibliotheken durchforschte. Daß sie vielfach einen compilatorischen Charakter tragen, hängt wol damit zusammen, daß er nicht immer die letzte Hand an sie gelegt hatte. Hat er oftmals seine Quellen wörtlich aufgenommen, wie sich aus einer Vergleichung mit denselben ergibt, so darf er deshalb um so weniger für einen Plagiator gehalten werden, als nicht ersichtlich ist, was er selbst bei längerem Leben würde haben drucken lassen; zunächst hat er diese Werke sich zu seinem eigenen Gebrauche angelegt und es fehlt nicht in ihnen an Beweisen eingehender kritischer Forschung und Bearbeitung der ihm vorliegenden Quellen. Unläugbar haben aber seine Werke zur Verbreitung einer Kenntniß der Geschichte und Kirchengeschichte des nördlichen Deutschlands und des Nordens sehr viel beigetragen und sind wegen seiner Urtheile über Begebenheiten und Zustände, die bis in seine Zeit hineinragten, noch heute werthvoll. Insbesondere gilt das von der Metropolis, um derentwillen man ihn nicht mit Unrecht einen zweiten Adam von Bremen genannt hat; sie kann als eine Fortsetzung der klassischen Gesta hammaburgensis ecclesiae pontificum dieses Magisters angesehen werden" (ADB). "Er war der erste, der die deutsche Historie von den vielen Fabeln säuberte" (Jöcher II, 2161). - Titel gestempelt. Etwas gebräunt und braunfleckig. - Beigebunden: Derselbe. Wandalia. De Wandalorum vera origine, variis gebtibus, crebris e patria migrationibus, regnis item, quorum vel autores vel eversores fuerunt. Adiecta est Polonici regni, & Prussiae, tum regiae tum ducalis descriptio. 3 Bl., 338 S., 12 Bl., 43 S. Mit 3 Holzschnitt-Druckermarken. Ebenda 1575. - VD16 K 2267. STC 477. - Zweiter Druck der zuerst 1519 in Köln bei Johann Soter erschienenen Chronik des slawischen Volksstamms der Wenden. Enthält im Anhang die zum Druck gehörende Polenchronik von Marcin Kromer mit dem Titel Poloniae, gentisque et rei publicae Polonicae descriptionis libri duo, die auch separat vertrieben wurde (vgl. VD16 K 2431). - Etwas braunfleckig, anfangs mit verblasstem Feuchtigkeitsrand.
AN ASIAN EMBROIDERED WALL HANGING, embroidered in gold and silver threads over different shades of pink and red, backed and mounted on a pole for hanging, fabrics vary, the central sun motif and border appear to have been originally from another older item, approximate size of hanging 100cm x 153cm (1) (sd, af)
A late Victorian silver mounted clear glass ink stand, of rectangular wedge form with star-cut base and pen rest, the circular domed and hinged cover embossed with foliate scrolls and enclosing a clear glass liner, marks for Birmingham 1898, maker indistinct, 10cm x 6.5cm x 7cm item is small but heavy glass has some tiny chips to some edges. and there is a small scratch to base liner and hinge good
MID 20TH CENTURY OFFICIAL PATTERN GIRL GUIDES BELT A charming, nostalgic item. Dating from 1950-1970 an official pattern girl guides belt. 33inches to fit 30inch waist. Brown leather with writing on the inside with young girls name and “76th Birmingham”. Chrome plated buckle and side clips. Some cracking to the leather but would wax well
Ptolemaic Period, Ca. 332-30 BC. A brightly painted in polychromy cartonnage mummy mask made from layers of linen covered with plaster. The idealised portrait of a deceased features a voluminous tripartite wig checkered in blue and gilt, and multicoloured striped pectoral. The rounded face and ears are gilded. The facial details are picked out in the same pigment as the wig, large eyes bear black pupils. The reverse of the mask is hollow to fit over the head of a mummy. For a similar see: The Indianapolis Museum of Art, Accession Number 28.243. Item comes with a professional historical report from Ancient Report Specialists. Piece is accompanied by the Art Loss Register Certificate Search no. S00218448. Size: H:500 mm / W:340mm / ; 2.5kg Provenance: Previously with Oxfordshire Collector M.D.; formerly in a collection of N.H., owned by descent; previously in an old Canadian collection formed in the 1970s.
Ca. 100-50 BC A Montefortino bronze helmet with rounded bowl, folded brim and projection on the top for attaching a plume. The Monterfino-type helmet was a mainstay of Roman soldiers during the Roman Republic, because it provided excellent protection while also allowing for a full field of vision. For a similar see The British Museum, Museum number 1867,0508.202. Item comes with a professional historical report from Ancient Report Specialists. Size: L:190mm / W:255mm ; 850g Provenance: Formerly in an American private collection; previously in an English private collection.
Ca. 300 BC A gold fitting composed of a discoid plaque with a looped attachment to the rear. The upper face is decorated with a highly naturalistic portrait of Alexander the Great. He is depicted looking left, with flowing locks and a serious expression. After conquering much of the known world in the later 4th century BC, Alexander the Great, king of Macedonia remained a major historical figure and subject of admiration for much of the rest of antiquity. He was commonly viewed as a model for aspiring generals and politicians. Item comes with a professional historical report from Ancient Report Specialists. Size: L:14.1mm / W:14.8mm ; 2.28g Provenance: Property of a London Art gallery; formerly in NYC collection; Ex. Edward H. Merrin Gallery, Inc., NYC., 1970s-1980s.
Ca. 100-300 AD A cast bronze statuette of nude Apollo. He is standing with the weight on his left leg. His right hand is raised, while the left hand rests on his hip. Apollo - son of Zeus and Leto, twin brother of Artemis. He was born on the island of Delos. Considered the god of beauty, light, music, fortune-telling, patron of art and poetry, and guide of muses. Item comes with a professional historical report from Ancient Report Specialists. Size: L:65mm / W:35mm ; 50g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 100 AD A bronze figurine of a young Eros, standing naked atop a spool-shaped base. He is striding forward with his right leg advanced, his left arm stretched holding a branch. His eyes articulated, his lips parted, and a cascade of wavy hair frames his chubby face. Item comes with a professional historical report from Ancient Report Specialists. Size: L:230mm / W:110mm ; 1.65kg Provenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 100-300 AD A gold bulla pendant comprising a strap suspension loop with extensive filigree decoration, including meanders and borders, from which hangs a disk-shaped body. This gorgeous piece may once have been worn by a Roman noblewoman. Excellent condition, wearable. 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:26mm / W:19mm ; 4.16g Provenance: Private UK collection; from an old Oxford collection formed in the 1990s.
Ca. 100 AD A gold lunar amulet comprises a crescent moon with a suspension loop, corded border, 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.Size: L:33mm / W:29mm ; 6.61gProvenance: Private UK collection; from an old Oxford collection formed in the 1990s.
Ca. 100-200 AD A gold finger ring composed of a round hoop, flat inside and rounded on the outside, with decorative vertical ribs along the shoulders. The hoop expands to support a large oval bezel with a border decorated in the same fashion as the ribs on the shoulders. The bezel is set with an intriguing frontal image of a chalcedony cameo of a grotesque male head with exaggerated features carved with remarkable and detailed precision. The crown of his bald head is topped with a small lock of hair, the eyes are deep set, an arched browline leads to a prominent aquiline nose, the forehead bears a pair of deep diagonal wrinkles, lips in a grimace. A ring with a grotesque would have served to ward off bad luck. For a similar grotesque cameo, but depicted in profile see The Collection (Lincolnshire) - LCNCC : 1914.725. 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: 19.1mm / US: 9 1/8 / UK: S; 16.38g Provenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 200-300 AD A finely carved carnelian intaglio bearing a young male bust behind a bust of bearded old male, both in profile facing left, possibly co-emperors Macrinus and his son Diadumenian who rose to power after the death of Caracalla in 217AD. The intaglio is set in a heavy, possibly later gold ring of a round hoop with wide faceted shoulders. 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: 18.8mm / US: 8 7/8 / UK: R 1/2; 9.47gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1970s.
Ca. Late 4th century BC A well-preserved bronze patera featuring a shallow bowl with a slightly rounded base, incised decoration at the bottom of the basin and a single handle attached to the bowl with riveted panel. These types of bowls were used to pour libations, wine or other liquid sacrifices. For a similar see Christie's Live Auction 12240 Antiquities, 6 Dec 2016, Lot 37. Item comes with a professional historical report from Ancient Report Specialists. Size: L:305mm / W:305mm ; 810g Provenance: Private London collection ( B.A); formerly acquired in the 1970s from John Lees collection.
Ca. 100-200 AD A gold finger ring of a hollow tapering hoop and a bezel set with an oval-shaped agate intaglio engraved with a depiction of a helmeted goddess Roma standing next to a column. Roma - the goddess of Rome and the traditional personification of the Roman state. 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: 17.75mm / US: 7 1/2 / UK: P; 4.83g Provenance: Private UK collection; from an old Oxford collection formed in the 1990s.
Ca. 1100-540 BC A finely cast bronze dagger comprising a leaf-shaped, double-edged blade with two registers of blood grooves, a crescentic guard with six raised bosses and a flat-section hilt finished with a round pommel. Item comes with a professional historical report from Ancient Report Specialists. Size: L:275mm / W:60mm ; 465g Provenance: 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 beautifully formed hollow gold finger ring with expanding shoulders to support a bezel set with a large garnet cabochon. Size: D: 17.97mm / US: 7 3/4 / UK: P 1/2; 2.3g Provenance: Private UK collection; from an old Oxford collection formed in the 1990s. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.
Ca. 100-300 AD An elaborate pair of gold earrings each comprising (from top to bottom): faux woven hoops from which close atop a central rondel into which is set a round garnet which is surrounded by gold baubles and granulations to form a solar motif. Below the garnets hang a second geometrically organized decorative cluster comprising a pillar with three heavy gold baubles, teardrop garnets with a granulated frame, and a final multi-tiered bauble These beautiful items probably belonged to a Roman noblewoman. 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: L:48mm / W:14mm ; 11.85g Provenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Late Period, Ca. 664-332 BC The head in the image of a king with fragment of white crown of Upper Egypt, decorated with Uraeus above the forehead, and the royal beard under the chin. The head is modelled with large idealised eyes, triangular nose, fleshy lips wite a smile, rounded chin and prominent ears. Part of a large statuette, possibly part of a temple or home worship. Item comes with a professional historical report from Ancient Report Specialists.Size: L:100mm / W:40mm ; 55gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 200-300 AD A pair of gold rings of circular-shaped hoops with coiled wiring around its terminals. 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:20mm / W:20mm ; 2.83g Provenance: Property of a London Art gallery; formerly acquired on the US Art market; previously in US collection I. G. formed before 1970.
Late Dynastic, 26th Dynasty, Ca. 664-525 BC. A wooden sarcophagus mask showing the frontal view of the idealised portrait of the deceased, the face is modelled with a cream-painted skin tone, long fake beard, the eyes almond in shape, heavy arched eyelids, outlined with bronze, the mouth with a gentle smile, which for the Egyptians held a symbolic belief that it would assist in a peaceful and solemn afterlife. The mask houses a rounded headdress which sits low on the forehead. The reverse flat, with holes for dowels connecting the mask to the coffin. The mummy mask was an essential part of burial and acted as protection but would also act as a substitute for the mummified head should it be lost or damaged. The Egyptians hoped to be able to continue their lives after death, through a strong belief in an afterlife. For this to be achieved, the deceased needed to be given a proper burial.The image of the deceased was essential to gain entry to the afterlife; Without eyes, the deceased will not see, without ears, the deceased is unable to hear the questions being ask, without a mouth the deceased is unable to say their name during the Final Judgment. Item comes with a professional historical report from Ancient Report Specialists. Size: L:420mm / W:260mm ; 2.05kg Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection
Ca. 500-600 AD A gold finger ring composed of a round hoop expanding dramatically to form an oval-shaped bezel finely decorated with a punched image of a facing bust of a saint with a cross on his right and a leafy branch on his left. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Item comes with a professional historical report from Ancient Report Specialists. Size: D: 17.97mm / US: 7 3/4 / UK: P 1/2; 8.04g Provenance: Property of a London doctor; Previously in a private Swiss family collection since the 1980s.
Ca. 323-31 BC A gold pendant with a circular suspension loop, cylindrical body and amethyst setting. The exteriors of the body are covered in intricate corded designs; wave designs are also visible on the body of the piece. Amethysts were considered in antiquity to provide protection against drunkenness, perhaps suggesting that this item once belonged to someone who wanted to make sure that having a little tipple did not get too out of hand! Size: L:18.5mm / W:8.4mm ; 1.69g Provenance: Private UK collection; from an old Oxford collection formed in the 1990s.
Ca. 200-300 AD Over life size schist head of a bodhisattva, with elaborate coiffure featuring a topknot (Ushnisha) and carefully-detailed hair, neat headband, heavy, lowered eyelids, elegant nose, neat moustache, closed mouth and strong chin. His identity as a bodhisattva is established by the presence of a well-defined urna on his forehead. Together, these details create a majestic impression of a bodhisattva or individual who is able to reach nirvana (enlightenment) but delays doing so through compassion for suffering beings. The back is rough and unfinished, suggesting this piece was originally placed in an architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. A comparable item was recently sold at Bonham’s, see https://www.bonhams.com/auctions/24358/lot/3078/. Item comes with a professional historical report from Ancient Report Specialists. Size: L:570mm / W:350mm ; 40.65kg Provenance: Property of a London gallery, formerly in a Tescott collection (USA) , 1970s-1990s.
Ca. 200-300 AD A schist stone head of a Buddha. He is depicted with wavey hair gathered up in a topknot above a headband. His face characteristically has drooping, half-closed eyes, characteristic of his depictions under the Kushan Dynasty, and he is shown with a slender, wavey moustache above his full lips. His forehead is decorated with the dot called the Urna, which represented the third eye that saw beyond the material limits of the world. The Buddha form was used to depict both the original Buddha Gautama as well as anyone who became a Buddha by achieving Nirvana. The Buddha was not expressed in sculpture in Gandhara before the 1st century AD, before which he was only alluded to with symbols. From this time though, Gandharan art depicted Buddhas with a captivating mix of traditional Buddhist iconography and style, and the naturalism and soft features of Classical art, since this region was greatly influenced by the conquests of Alexander the Great many centuries earlier and the subsequent Greek settlers. For more information on Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Item comes with a professional historical report from Ancient Report Specialists.Size: L:245mm / W:80mm ; 1.21kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 100-200 AD. A finely carved from marble, over life-size draped torso of a female, wearing a peplos with delineated folds and overfold girdled beneath the breast. Mounted to an integral round base. Item comes with a professional historical report from Ancient Report Specialists. Size: L:740mm / W:595mm ; 73kg Provenance: Acquired in 2003 in Paris from A. Kotlar, in his collection since the 1970s; formerly in a French collection since the 1950s.
Ca. 8th-11th century ADA large finger ring having a heavy gold round tapered shank with a fine ringed border bezel and four large triangular prongs set with an oval cabochon ruby stone. Intact, excellent condition. Sturdy and suitable for wearing. A nice example. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Cf. Sotheby's, Golden Splendour – Gold Jewellery from the Collection of Tuyet Nguyet and Stephen Markbreiter, Lot 1085, 28 July 2021.Size: D: 20.76mm / US: 11 1/8 / UK: W; 16.83gProvenance: Property of a London Ancient Art gallery, acquired on the US Ancient Art market; formerly NYC collection, ex. US art gallery, NYC.
Ca. 1100-1400 ADA garnet stone intaglio engraved with Christogram with letters 'N' and 'E' on each side set in a beaded bezel cell of a gold finger ring composed of a flat-section hoop with 'IC XC' — a traditional abbreviation of the Greek words for ""Jesus Christ engraved on the shoulders. Superb item!Size: D: 21.69mm / US: 12 1/4 / UK: Y 1/2; 4gProvenance: Property of a London doctor; Previously in a private Swiss family collection since the 1980s.
Ca. 900-1100 AD A bronze amulet comprising a longboat with stylised dragon's-head prow and stern with carefully cast features and textured scales; eight elongated tassel pendants hang from the underside, perhaps representing oars or the wings of the dragons. Dragons were important figures in Norse mythology and were known for their powerful, destructive nature. This item would have been an appropriate amulet for a ship's captain. Good condition, with a beautiful patina. Size: L:125mm / W:70mm ; 94.07g Provenance: Private UK collection; From an old London collection formed in the 1990s
Ca. 100-200 AD. A fine example of a marble statue of a lion depicted in a crouching position with its legs hidden under the short body. The head bears skilfully carved face details with deep-set eyes, a broad nose, arching brows, open mouth, and is framed with an abundant, curly mane. Item comes with a professional historical report from Ancient Report Specialists. Size: L:630mm / W:320mm ; 38.85kg Provenance: Property of a London Art gallery; acquired in 1998 in Mayfair gallery, London; formerly in an old Belgium collection formed in the 1960s.
Ca. 400 BC A museum-quality bowl hammered from a single sheet of silver with underside low-relief decoration of stylized lotus-flower designs surrounded by a circumferential band of almond-shaped protrusions. Libation bowls, known as phiale, were used across a wide geographical area - from Greece to Tibet, throughout the ancient Near East and Central Asia. These shallow bowls for holding wine in ritual and ceremonial settings were made from many materials - glass, ceramic, and many kinds of metal. Royal vessels were made of precious metals, like this one. They functioned both as tableware and as wealth - they could be stored in the royal treasury or given as gifts to people they were hoping to influence. Item comes with a professional historical report from Ancient Report Specialists. Size: L:40mm / W:145mm ; 370g Provenance: Property of a London Ancient Art gallery; formerly in Welbank collection since 1980s.
Ca. 1-100 AD A large bronze statuette of goddess Venus standing with her weight on her right leg, the left leg bent at the knee and slightly advanced, leaning into her right hip, her slender torso nude; her both arms bent as to adjust a necklace; her head turned to her right, her gaze slightly downturned; the pupils recessed, her hair arranged in an intricate coiffure. Venus was the god of love, beauty, desire, sex, fertility, prosperity and victory. She was an especially important god for the Romans as she was also the mother of Aeneas, their mythical ancestor. For a similar see The Getty Museum, Villa Collection, Object Number: 57.AB.13. Item comes with a professional historical report from Ancient Report Specialists. Size: L:200mm / W:70mm ; 350g Provenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 1425-1510 AD An ‘Espada de Ropera’, an iron Spanish-made rapier featuring pommel like a perfectly formed ’Olive’ that drops down into a re-enforcing ring or ‘shoulder’, would have, originally, sat above a hilt of organic material which hasn’t survived; is of an unrecognizable type. The cross guard, straight and wide, with double loops dropping from under the cross guard bar is of a type that is “late, unclassified and complex” according to Oakeshott. The sword blade, Oakeshott type XIX, is long and narrow and evenly fullered, with a narrow fuller running about three-quarters the length of the blade. The blades edge, sharp as would be expected, starts off its true edge below the cross guard loops on both sides. Within the loops the edges of the blade are flat and unsharpened. This is so that it is safe for any fingers that are hooked under the guard, but more importantly, this to re-enforce the blade, giving it greater strength under the hilt. The item comes with an academic report written by Russel Scott; famous lecturer, reenactor and expert of Viking and medieval artefacts. Size: L:1015mm / W:230mm ; 1.25kg Provenance: Property of an European collector; formerly in Ing. P. Till collection till 1999; previously bought in Vienna in 1971.
Ca. 1200-700 BC A two-edged bronze blade of a sword, leaf-shaped with rectangular tang, corrugated midrib extending almost to the tip and flared at the shoulder. Cf. Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004, item 36. Size: L:510mm / W:70mm ; 520g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 1200-700 BC A two-edged bronze sword blade, leaf-shaped with rectangular tang, corrugated midrib extending to the tip and flared at the shoulder. Cf. Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004, item 36. Size: L:490mm / W:55mm ; 450g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Roman / Early Renaissance 200 AD or later. Depicted with youthful, idealising features, her oval face gently sloping to the pronounced chin, her eyes almond-shaped, the delicately-modeled brows arching gracefully and merging with the bridge of her nose, the nostrils articulated, with small bow-shaped lips. Her luscious, wavy hair center-parted, bound and tied in a chignon at the nape of her neck. Item comes with a professional historical report from Ancient Report Specialists. Size: L:380mm / W:220mm ; 18.6kg Provenance: Property of a London Art gallery; previously acquired on the US art market; Ex. Brummer Gallery with number at rear: “N 155”. Purchased from Pascal in 1920s.
Ca. 1st century BCE - 1st century AD A marble head of a female with idealized features, her oval face gently sloping to the pronounced chin, her eyes deep-set, the brows arching gracefully and merging with the bridge of her nose, small bow-shaped lips. Her hair dressed with a rolled lock across her forehead and drawn back. Item comes with a professional historical report from Ancient Report Specialists. Size: L:190mm / W:120mm ; 3.55kg 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. 500-300 BC A striking Chalcidian helmet made of hammered bronze, with a sharply flaring neck-guard, a short slender nose guard running to broad arching eye openings; the brow shows two slender eyebrows. The articulated crescentic cheek-pieces with contoured edges are attached with hinges; a hole for the attachment of a chin-strap is visible on each cheek piece. Chalcidian helmets are named after similar helmets depicted on pottery vases from the Euboean city of Chalcis. This type of ancient Greek helmet was a lighter and less restrictive form of the Corinthian helmet. The hinged cheek pieces were anatomically formed to fit closely to the face and tended to curve upward towards the eye, where large circular openings provided a wider field of view than the Corinthian helmets. Repaired. For more information on Chalcidian helmets, see Everson, T. (2004). Warfare in Ancient Greece: arms and armor from the heroes of Homer to Alexander the Great. The History Press, 116-124. Item comes with a professional historical report from Ancient Report Specialists. Size: L:330mm / W:225mm ; 950g Private London collection; previously in an old English private collection.
Ca. 600 AD A matched pair of gold earrings, each comprising a circular hoop with a hook and clasp closure. Below each hoop, there is a circle with symmetrical filigree composition forming a cross inside. The exterior of the circle is further embellished with evenly spaced clusters of fine granules. 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:36.7mm / W:22mm ; 6.73g Provenance: Property of a London doctor; Previously in a private Swiss family collection since the 1980s.
DOLCE & GABBANA exklusive Krone. Sammlerstück - Rarität. Nicht mehr erhältlich. Goldfarbene Krone mit großem Steinbesatz in Multicolor. Innenseite mit Samt ausgestattet. Box anbei. Sehr guter Erhalt. | DOLCE & GABBANA exclusive crown. Collector's item - rarity. No longer available. Gold-tone crown with large stone set in multicolor. Inside equipped with velvet. Box enclosed. Very good condition.
1997 LOTUS ESPRIT V8 Registration Number: R623 EAA Chassis Number: SCCO82918VHA15276 Recorded Mileage: 7,239 miles The silver Italdesign concept that eventually became the Esprit was unveiled at the Turin Motor Show in 1972, and was a development of a stretched Lotus Europa chassis. It was among the first of designer Giorgetto Giugiaro''s polygonal "folded paper" designs. Originally, the name Kiwi was proposed, but in keeping with the ''E...'' naming format of Lotus tradition, the name became Esprit. For the S4 of 1993, Lotus designer Julian Thomson took another crack at keeping the Esprit relevant. The biggest changes were to the bumpers and the aero package, with a restyled rear spoiler. Engine output remained the same as the previous SE model at 264bhp, but in 1994 the Esprit S4 Sport arrived, with added engine modifications it topped a heady 300bhp from the 2.2-litre turbocharged four pot. The introduction of a V8-powered Esprit in 1996 was the biggest news in some time. The flat-plane-crank 3.5 litre engine was of Lotus design, fed by twin Garrett turbochargers, and driven through a modified Renault-sourced five-speed transaxle. The 0-60 sprint dropped once again, this time to the low four second range. A Sport 350 variant included bigger brakes, bigger aero bits, and stiffer suspension. A final facelift in 2002 by Russell Carr was the last major change for the Lotus Esprit, which ended production in 2004. This wonderful low mileage Esprit V8 has been in the custody of just two owners from new, who between them have covered just over 7,000 miles in 25 years. First registered in November 1997, the Esprit was specified in rare Ruby Red metallic with a Magnolia leather interior and carpeting in red. One or two other options were specified such as a full sports exhaust system, glass sunroof (in addition to the factory item), and an Alpine CD player, as noted in the original bill of sale for £56,850. The Lotus has been maintained correctly over the years, by Lotus Dealer Haydon of Salisbury at 1,644, 4,026, 4,453 and 5,548 miles, and latterly by leading Lotus specialist Cos De-Martino of Sportomotive in Bournemouth, who further serviced the Esprit at 6,404 miles, and most recently at 7,176 miles in 2017. Currently reading a genuine 7,239 miles from new, this is a truly unique example of this model, which has been dry stored by our current vendor in the last few years. Offered with a UK V5C, stamped Lotus service book, a number of older MoT certificates and several maintenance invoices over the years, this genuine low-mileage example of one of the best incarnations of the legendary Esprit, is well worth a closer look.
1976 JAGUAR XJ-S COUPE Registration Number: MPN 480P Chassis Number: 2W1365BW Recorded Mileage: 68,800 miles - Early chassis from March 1976 - Recent extensive bodywork restoration Introduced by Jaguar on September 10, 1975, at the Frankfurt Motor Show and put into production the following year, the XJ-S carried on the legacy of the E-Type with its V12 engine. The new coupé was produced in three series until 1996, the last of which lost the hyphen in its name and became simply the XJS. From the E-Type, it inherited the 5.3-litre 12-cylinder engine but fitted with a new innovative Bosch D-Jetronic electronic injection system, developed by Jaguar’s own engineers. The bodywork, elegant and rich in heritage compared to Jaguars of the recent past, is based on a platform derived from that of the company's flagship XJ, making the XJ-S more suited to long, fast journeys than to purely sporting driving. Performance, on the other hand, is excellent, with a 0-100 km/h sprint in less than seven seconds and a top speed of 245 km/h - a remarkable figure for a kerb weight of 1,675kg. The XJS has come of age. The E-type was always going to be a hard act to follow, but the replacement coupe launched in September 1975 retained the mighty 5343cc V12, endowing this grand tourer with silken thrust. It rode on typically Jaguar independent suspension: double wishbones up front, and the William Heynes-designed independent rear suspension that ingeniously uses the driveshaft as the upper suspension link, saving space. Comfort and pace were unrivalled. At first, buyers had the option of a manual four-speed gearbox or a three-speed automatic, but all XJSs were automatic from 1978. There were soon engine upgrades to more efficient HE spec and eventually 6 litres, and the choice of a 3.6 and later 4.0-litre straight sixes. In 1991 the XJS was facelifted with revised rear styling and new front and rear lights. Replaced by the XK8 in 1996, it was in production for longer than the E-type and sold in greater numbers. Time has been kind to the XJS's looks, and now prices are rising as its popularity increases. As many have rotted away, good ones are increasingly harder to find. This very early XJ-S, chassis 376, was first registered in March of 1976, finished in Old English White with a contrasting red leather interior. Unusually the XJ-S was specified without standard factory air-conditioning, and as with other early cars, lacks fitted foglights in the rear bumpers. The XJ-S has been in the ownership of just two enthusiasts since 1996, the current one since 2014. Upon acquiring the Jaguar to add to his classic car collection, our vendor quickly realised the car required more work than he initially anticipated. The car was stripped and repaired as and where required, all glass removed and then the body completely refinished to its original colour. The glass was then refitted with new rubbers all round. The interior is believed to be the original, and is in well preserved condition, with the exception of the headlining which has been replaced with a new item. An estimated 1,000 hours have been put into the project to date. Having been serviced with new filters and spark plugs, the Jaguar’s engine is said to run well, and the transmission/drivetrain operate smoothly. The vendor advises that one or two electrical items need attending to, these being the horn, fuel gauge and oil pressure switch. However the oil pressure has been checked with a manual gauge and reads around 40psi. The front suspension bushes have also dried through storage and are a little squeaky, another minor item to attend to. Early Jaguar XJ-S models are a rare commodity indeed; this desirable model from the first year of production, as driven in period by Simon Templar’s character in The Saint, and with all the hard work completed, is ready to be taken to the next level by its future owner. The XJ-S is offered complete with original books, manuals, receipts for work over the years, and a UK V5C document.
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