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

A Carved Composite Item, in the Form of Boulder with Village Scene Depicting Figures, Houses and Blossoming Tree, 13cm high

A George III cream jug, maker’s mark indistinct, London 1811, together with George III ladle, a 1930’s five piece cruet set with blue glass liners by Mappin & Webb, a small modern Mappin & Webb tray, a Victorian silver-mounted cut glass jar of square form, a turn of the century silver-mounted cut glass mustard pot, a pair of late Victorian sugar tongs and a German pepper pot modelled as a woman in traditional dress, marked 800, total 16.5ozt Condition report: Multiple item lot, all items display surface scratches, marks and tarnishing. There are some chips and marks to the glass.

A silver four-piece tea set, by Addie Brothers Ltd, Birmingham 1923, consisting of a hot water jug, teapot, milk jug and creamer, each of ovoid form, with shaped reeded rim, and later engraved italic P and 1899–1924, the hot water jug 24cm high, total 70oztCondition report: Each item displays surface marks and scratches. Maker’s mark worn. There are some residue polish marks. The teapot wobbles on its feet and does not sit flat.

An assortment of silver items, to include nine napkin rings of varying design, including a pair of hexagonal form with engraved initials P and C by Alexander Clark & Co, Birmingham 1929, a 1920’s cream jug, a pair of Art Nouveau sugar tongs and a small condiment spoon, total 10oztCondition report: Multiple item lot, all items with surface scratches, marks and tarnishing. Some of the engraved decoration on the napkin rings is rubbed. Some of the maker’s marks on the napkin rings have rubbed.

A cased Victorian fork and spoon set, maker’s mark indistinct, Birmingham 1876, together with a cased set of five modern teaspoons by Turner and Simpson, Birmingham 1958, four apostle style spoons by William Hutton & Sons, six Old English pattern Georgian and Victorian tablespoons, six George III Old English pattern teaspoons, five George IV Queen’s pattern teaspoons, a George III bright-cut engraved tablespoon and further silver flatware, total 59oztCondition report: Multiple item lot, all items display surface marks, tarnishing and wear. Marks and losses to the cases.

A RARE AND IMPORTANT JAPANESE LACQUER CABINET FOR THE DUTCH MARKET EDO PERIOD, C.1680 Of rectangular form with a flat top, the sides and front embellished in gold, silver, brown and red lacquer hiramaki-e on a deep black roiro ground with a continuous design, the large panels depicting a complex scene of many figures in a mountainous river landscape; the left side with a rare depiction of the island of Dejima, a three-masted fluyt (cargo ship) sailing toward it, flying the tricolour flags of the Dutch East India Company and the stern with a small monogram reading VOC. The right-hand side of the panel depicts a busy street of Nagasaki leading to the Dutch island, with many figures in traditional garments engaged in daily life; a small wooden bridge leads to the fan-shaped artificial island, three Dutch men are visible outside the buildings and two Japanese figures sit in seiza in a small hut in the centre, probably guards. Japanese boats sail in the distance, and a four-storey pagoda with many birds flying above are visible behind. The front doors are decorated with a long procession, the many travellers on foot and on horseback, three of the horse riders dressed as Dutch merchants and a fourth figure, probably the Opperhoof (chief trader), is seen in a palanquin. Many Japanese figures on either side of the procession are engaged in various activities: some play musical instruments on board of small boats, others are fishing; figures inside buildings are depicted playing go, and farmers to the side are tending to their rice paddocks. The upper half of the right door depicts a large mansion, probably the local daimyo's castle, with men kneeling before another figure in the central courtyard. The right side of the cabinet is painted with further horse riders and their retinue journeying through mountains. The pair of doors to the front open to reveal eight rectangular drawers and two further doors with escutcheons; the cabinet is decorated to the inside with scenes of many birds in flight in further mountainous river landscapes, the reverse of the left door with two thatched buildings, one with a ladder, underneath a camellia tree with large blooms; the right door with a three-storey pagoda nestled amongst trees; with some details rendered in raised takamaki-e; the cabinet with elaborately engraved metal clasps and lock plates, together with the original key, raised on a later European Japanned wood stand, the cabinet 88cm x 100.5cm x 54cm.Provenance: an English private collection formerly at Cliff Avenue, Cromer, Norfolk since the 1950s and thence by descent. Believed by the family to have been purchased from Margaret Jane Barclay (1861-1958) of Herne Close, Cromer, together with the entire contents of her house. Margaret's ancestor James Barclay (1708-66) established the Barclays banking dynasty. It is likely that the cabinet was purchased by Margaret's father, Joseph Gurney Barclay (1816-98), who built Herne Close as a holiday house and furnished it. Joseph was one of the wealthiest members of the Barclays family, leaving many properties and a fortune of £900,000 to his children after his death.LOT ESSAY:The Dutch East India Company or VOC (Vereenigde Oostindische Compagnie) had an exceptional position in 17th century Japan. On 24th August 1609, Jacques Specx (the first chief merchant or Opperhoofd) was given the permission to trade by the Shogun, Tokugawa Ieyasu. After the Portuguese were expelled from the country, the Dutch became the only Europeans allowed to trade there. In 1634, the artificial fan-shaped island of Dejima became their trading post. The island was only 185 meters long and the VOC had to pay about £150,000 per year for it. There was only one bridge connecting it to the shore which gave local authorities complete control over the Westerners. There was a maximum of twenty Dutch people living on the island at any time, and -officially- none of them were soldiers or women. Restrictions on Dejima were tight and the merchants were only allowed to leave the island by special permission. The Chief Opperhoofd could only stay on Dejima for a year, and each new one had to go to the capital of Edo to pay tribute to the Shogun and obtain permission to keep on trading. At first, they would travel with gifts once a year, but later this audience was only required once every four years. The procession (the Hofreis) would include the Opperhoofd (depicted here in a norimono palanquin), his secretary and his physician. The Dutchmen on this cabinet are easily recognisable, wearing Western outfits and wide-brimmed hats.The Dutch travellers were treated like local daimyo lords, who also had to pay tribute to the Tokugawa leader and undertake regular trips to Edo under the sankin kōtai (alternate attendance) system. One can only imagine the spectacle this procession would have been for local people, and many are depicted here stepping out of their houses to observe the foreigners. European collectors would have been familiar with some of the decorative elements often encountered on these lacquer pieces for export, including combinations of the ‘seven grasses of autumn’ and other blooms such as chrysanthemum, magnolia, and peonies.The decoration with many figures engaged in daily activities is reminiscent of rakuchu rakugai zu (Scenes in and around the Capital), a style of paper screens decorated with bird’s eye views of the busy streets of the old capital of Kyoto. The Japanese figures here are depicted fishing, playing musical instruments on boats, tending to their fields, playing go, and paying tribute to the local lord. Japanese lacquer cabinets such as lot 1046 were very expensive and as such, they were seen as a luxury item worthy of European courts. This cabinet is a good example of the type of export lacquer popular in the 17th century for its decoration of mountainous river landscapes. The shape is adapted from earlier Portuguese and Spanish escritórios or bargueños concealing many drawers of various sizes. Japanese lacquer was a luxury commodity, and it became even more sought-after when Japan restricted relations with the rest of the world after 1639. Some of the most prestigious commissions for these high-quality lacquer cabinets include Cardinal de Mazarin’s order for sixty coffers and cabinets in 1661, largely decorated with landscapes and figures. One of these magnificent coffers is now on display at the Victoria & Albert Museum, access. no.412:1, 2-1882.The Dutch Royal Collections also include a pair of important Japanese lacquer cabinets with depictions of Dejima and the Chief merchant travelling to Edo for the Hofreis. These cabinets were possibly a gift to Amalia van Solms (1602-75), an avid Japanese art collector and lover of lacquerwares. Japanese cabinets depicting Dutch merchants would have been appropriate presents to the wife of the Stadtholder. This very expensive pair of cabinets were probably commissioned by the Company or by one of the VOC Chambers; however, there is no documentation recording the order.The unusual depictions of the Opperhoofd and the Hofreis on lot 1046 suggest that the cabinet was also a special commission for Dutch nobility or a high-ranking VOC official serving in the Dutch East Indies.

Tottenham Hotspur's Paul Gascoigne Hand signed 23x17 Limited Edition 166/250 photo. Photo shows Gazza Celebrating after scoring a Free Kick against Arsenal in 1991 FA Cup Semi Final in which Spurs won 3-1. Big Blue Tube Editions. Fantastic item. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Bury FC Vs Hibernian Vintage Football Programme from 18th February 1956 at Gigg Lane, one sheet. Superb item. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Preston North End FC Vs Man City Football Vintage Programme from Sat 10th October 1959 at Deepdale. A Matchday Ticket included. Wonderful item. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

An early Victorian mahogany framed scroll arm sofa, c1840, the top rail with leaf panelled terminals, the arms caved tulip and foliate scrolls, on moulded apron and turned legs fitted castors, 220cm l, 86cm h Provenance: Marie-Louise, Lady Manvers (1889-1984) of Thoresby Hall Nottinghamshire, by whom exchanged for an item she wished to acquire from an antique dealer in Ollerton and by whom in turn sold to the present vendor in the 1960's or 1970's Cracks, losses of veneer, other abrasions and wear, general wear to upholstery

A collection of model kits, comprising Tamiya 1:35 scale Israeli tank M51, item 35323**3600, boxed; Italeri 1:72 scale kits, comprising C-47 Skytrain, No.127, boxed; two AS.51 Horsa Mk.1 with British Paratroops, No.1356, boxed; Zulu Warriors (Colonial wars), No.6051, boxed; Sd.Kfz.251/8 ambulance, No.7077, boxed and British Infantry (Colonial wars), No.6050; other 1:76 and 1:1200 kits from manufacturers such as Airfix, Revell and Valiant Miniatures etc (20)

JAZZ - 78RPM (UK/ US PRESSINGS). A superb collection of around 400 jazz 78rpm shellacs, to include many UK pressings but also some US. Artists include Bessie Smith, Jimmy Yancy, Clarance Williams, The Original Zenith Brass Band, Josh White, Joe Turner, Waldorf Astoria Dance Orchestra, The Harlem Foot Warmers, Joe Venuti, Jelly Roll Morton, The Mound City Blue Blowers, The Metronome All-Stars, Ard Hodes, Stan Getz, Benny Goodman, Fletcher Henderson, Lionel Hampton, Pee Wee Hunt, Earl Coleman, The Californian Ramblers, Billy Cotton, Bing Crosby, Mut Carey New Yorkers, Jimmy Dorsey, The Dixieland Jug Blowers, Duke Ellington, Pete Daily, Tommy Dorsey, The Baby Dodds Trio, Johnny Dodd, John McCormack, Andy Kirk, The Kid Shots New Orleans Band. The condition appears to be very well looked after, generally V+ to E+. Please note that there is no shipping on this item, private courier or collection only.

A mounted promotional postcard from the 'Demon' record label bearing a signature by Rory Gallagher. Obtained by the vendor who worked at a record shop (Decoy, Manchester) and was given the item by a Demon Records rep.

A plain white guitar scratchplate bearing signatures in black marker pen by members of Scorpions inc Rudolf Schenker, Paweł Mąciwoda, Klaus Meine, Matthias Jabs and Uli Roth. This item was signed in July 2007 in Manchester. Obtained in person by a dedicated collector in the Manchester area, who collected tens of thousands of autographs of stars of sport, music and screen.  

A PAIR OF EARLY GEORGE III SILVER BOMBÉ TEA CADDIES BY EMICK ROMERLONDON 1762With flower finials to the quartered slightly domed covers with gadrooned rims, chased with shells, cartouches in rocaille frames and pendant flowers to the angles, gadroon and shell lower rims, each on four bead and scroll foliate feet, engraved with an armorial and a crest, 14cm (5 1/2in) high, 563g (18.1 oz)The arms are for Richard CHAPMAN (1742-1803) of St Michael Cornhill, London who in 1763 married Jane COTTIN (born 1745) the daughter of Josiah and Jane COTTIN a Huguenot family originally of Fontaine, France. From the assay of 1762 it might be expected that this item was created for their marriage. Richard CHAPMAN was the second son of Richard CHAPMAN (born 1710) and Anne WALBURGHE (born 1710) sometimes WHALESBURY or WHALISWORTH of Whalisborough, Cornwall the daughter and heir of Simon WALBURGHE (1666-1727) and Hannah ANTHONY (1670-1746).Condition Report: One cover a bit loose. Light scratches and nicks commensurate with age and use, clear marks beneath, standard & makers to covers clear, arms good, one crest good the other worn, both stand wellCondition Report Disclaimer

Vintage Golly 75cm tall These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001 

Vintage Robertson's golly band figures. These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001 

Two teddy bears and four Gollies, a 1960s jointed British teddy bear with white plush pads --16in. (41cm.) high; a Big Softies bear; three vintage Gollies and a modern example. These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.   

A J D Kestner character baby, with fixed brown glass eyes, open/closed smiling mouth, impressed JDK 12, blonde painted hair and brown mohair wig, bent-limbed composition body --15½in. (39.5cm.) high (needs re-stringing, head dirty); a Pedigree hard plastic doll; a Dean's Golly; Pelham Puppet Golly and Andy Pandy.  These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.  

An Oxo Zoo House tin, for six Oxo cubes --3½in. (9cm.) long; a cast-iron Jolly bank; a Green Barley Sugar tin of hunting dogs; a composition black baby; a cash tin; and other items. Mechanical cast iron banks were first manufactured in the late 1800s during the Industrial Revolution. ‘The Jolly Banks’ or ‘Money-boxes’ were a popular item during this period and are associated with Black Memorabilia. These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.  

Various toys, a papier-mâché black faced clown mask --9¼in. (23.5cm.) high (paint flaking); a black boy shooting game (slight damage); two Robinson Golly badges; a tinplate Halloween trumpet; seven cards of a black man in a boater with moving eyes and teeth; and other items.  These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.   

A child's tea set printed with googly eyed child and Golly, six cups and saucers, tea pot -4in. (10cm.) high, sugar bowl (chipped) and milk jug, stamped Shell England; and a Gwenda boxed dolls' cutlery set.  These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.   

Three Robin Reeve Golly girls, Missy, Scarlet and Girly Golly, all with card tags --16½in. (42cm.) high. These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.   

A Chad Valley 1930s jointed Golly, made of velvet with mohair wig and painted smile --13½in. (34.5cm.) high (missing jacket); a Dean's Rag Book Hetty the Help Yourself doll with Government Evacuation Scheme tag; a printed Dean's doll; a Planes of the RAF sticky-back brass recognition stickers with leaflet; a Lakehurst Dirigible dexterity game; and other 2nd WW items in suitcase. These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.  

Various post-war soft toys and teddy bears, including five Gollies; four Wendy Boston bears; a Wendy Boston Basil Brush; two other teddy bears and an Italian rubber Donald Duck.  These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.   

An Avon lathe, sold as collector's item and a box of various wood turning chisels 

A Eumig projector (sold as collectors item)

An Aldis projector in carrying case together with two others sold as collectors item

A vintage American 'Junior' pinball machine, width 39cm, length 72cm, height 45cmITEM ONLY A COLLECTOR'S ITEM - REWIRE REQUIRED BEFORE USE

BB Pack: The Big Four an original framed signed artwork featuring and signed by all 4 tennis greats, multiple grand slam champions, world #1 men's singles title holders and Olympic medallists, Andy Murray, Roger Federer, Rafael Nadal & Novak Djokovic. A multi-national tribute to men's tennis which will be accompanied by a Certificate of Authentication signed by the artist and all 4 players. You cannot be serious! An opportunity to bid for an exclusive and truly remarkable item of tennis memorabilia. This stunning work celebrates the 4 ATP Tour players who have dominated men's tennis in singles for the majority of the 21stcentury. The Big Four has been created and donated by artist BB Pack. This item is a must for tennis fans around the world and this face wrapped, stretched canvas is elegantly presented in an L shaped tray frame. 48 cm (h) 60.5 cm (w) 4.5 cm (d) – framed Donated by: BB Pack Certificate of Authentication signed by: Sir Andy Murray, Roger Federer, Rafael Nadal & Novak Djokovic to follow separately in 2022 Fine art printing donated by: Healeys Special thanks to: Cadogan Tate T&C’s Apply Shipping to be arranged direct by final bidder with Cadogan Tate Certificate of Authentication to follow separately in 2022

Sir Geoff Hurst & Martin Peters MBE: Signed replica England 1966 World Cup Shirt Three lions on a shirt, never stop you dreaming of owning a truly iconic item of football memorabilia signed by the legendary Sir Geoff Hurst & Martin Peters MBE the England goal scorers in the historic 1966 World Cup final. The shirt is framed and accompanied by a Certificate of Authentication. Please note that there is slight fading on the shirt from sun damage 122 cm (h) x 91 cm (w) x 2 cm (d) Donated by: Duncan Foster from Magicgrain T&C’s apply: Shipping can be arranged at a cost to the final bidder

Emma Raducanu: Wilson Blade Racket Signed A truly remarkable item of tennis memorabilia a Wilson Blade racket signed during this auspicious landmark year for the young British tennis sensation. At 18 years of age and having just received her A Level results, Emma started the Summer season ranked #366 in the world and #12 in Britain. It truly was a Fairy Tale in New York, as she battled through 3 qualifying rounds and 7 main draw matches, to become the youngest Grand Slam champion since Maria Sharapova in 2004. Not only is she the first British woman to win a Grand Slam title, since Virginia Wade won Wimbledon in 1977, Emma is also the first qualifier, man or woman, to win a Grand Slam singles title As this remarkable year for British tennis draws to a close, we are delighted to present this remarkable item of tennis memorabilia, signed by Emma Raducanu. Donated by: WTA https://www.wtatennis.com T&C’s apply: Shipping can be arranged at the cost of the final bidder

The Kooks: Signed Guitar Ooh La a white Fender electric guitar, with the dedication love all from The Kooks, signed by all members of the band; Luke Pritchard, Hugh Harris and Alexis Nunez. Your chance to own a unique item of music memorabilia donated by English indie rock band formed in Brighton in 2004. Could you be so Naïve to not bid for this! Donated by: The Kooks & One Management Luxury Concierge Services https://thekooks.com T&C’s apply: Shipping can be arranged at a cost to the final bidder

Paul Gascoigne: Singed 1998 England Shirt A special item of football memorabilia in the form of a 1998 England shirt signed by Paul Gascoigne, Gazza, former professional footballer who played as an attacking midfielder. Acknowledged by the National Football Museum as the most naturally talented English footballer of his generation. Donated by: Calum Barker of First Class Events https://www.first-classevents.co.uk T&C’s Apply Shipping can be arranged at cost to the final bidder

Cori “Coco” Gauff: 2021 US Open signed tennis shoes We are delighted to present this very special item of tennis memorabilia, personally donated by Coco Gauff. These purple & pink tennis shoes (size 12) were created for Coco by her kit sponsors New Balance for this year's US Open and have been signed by her. Inspired by the Williams sisters and coached by her parents Corey and Candi, Coco became the youngest tennis player to qualify for the main draw at Wimbledon, at just 15 years of age, and her first round victory over Venus Williams in 2019 made her an instant global superstar and teen role model. Her first WTA singles title came at the Linz Open in October 2019, making her the youngest champion on the WTA tour since 2004. She is also the youngest player in the world’s top 100 and is currently ranked 23. Coco dreams big and works hard every day to improve her game. Her goal is to change the world with her racket while keeping her feet, and her tennis shoes, firmly on the ground. Donated and signed by: Cori "Coco" Gauff https://www.wtatennis.com/players/328560/cori-gauff T&Cs Apply: Shipping can be arranged at the cost of the winning bidder

Tennis ball signed by all 8 women tennis stars in the AKRON WTA Finals 2021, accompanied by a poster; Hot off the press, a truly priceless item of WTA memorabilia, sigend by Garbine Muguruza Anett Kontaveit Karolina Pliskova Maria Sakkari Iga Swiatek Paula Badosa Barbora Krejcikova Donated by WTA

Sergio Agüero: Signed Manchester City Football Shirt A special item of memorabilia signed by Argentine professional footballer, who currently plays as a striker for La Liga club Barcelona and for the Argentina national team. Previously, during his 10 years with Manchester City, he helped his team to win 5 league titles and is the club’s all-time top goal scorer. Widely acclaimed as one of the best strikers of his generation and one of the best players in the history of the Premier League. Agüero has earned over 100 caps representing Argentina in the senior team at 3 FIFA World Cups and 5 Copa América winning this year’s highly coveted trophy for his country. Donated by: One Management Luxury Concierge Services https://www.onemanagement.co.uk T&C’s Apply: Shipping can be arranged at a cost to the final bidder

Roland-Garros: French Open Poster 2021 signed by the artist Jean Claracq with 2 beautifully illustrated books Au centre le court Philippe Chatrier & Trophies Your chance to bid for a unique item of tennis memorabilia, donated by La Fédération française de tennis (FFT) and signed by the artist, capturing one of the most important new features at this year’s tournament, the introduction of night sessions. The view from the Fond des Princes, an area located on the outer edge of the stadium, served as inspiration for Jean Claracq. Instead of choosing one of the show courts, he decided to shine the spotlight on one of the lower profile courts. He was touched by the multiple challenges at stake on the smaller courts, where the players’ ambitions and hopes are displayed in such a raw way, far away from the media spotlight. This multi-faceted piece also seems to evoke the players’ solitude. The stunning poster is accompanied by 2 beautifully illustrated books from Les Carnets de Roland-Garros collection, reflecting the spirit of the stadium, whilst inviting you to discover the unique stories that make the Parisian Grand Slam so special Au centre le court Philippe Chatrier 106 pages with illustrations: Every year, the Porte d'Auteuil becomes a hive of activity for three weeks. Roland-Garros stadium throws open its gates and the second Grand Slam of the year gets everyone's adrenaline pumping. At the epicentre of the action is the beating heart of the stadium, Philippe-Chatrier Court. This book invites readers to dive into the history of this legendary court, which stands the test of time thanks to its players, its spectators, its groundsmen and everyone whose passion brings it to life every year. Trophies 106 pages with illustrations: Celebrating the 40th anniversary of the Coupe des Mousquetaires, when sport and the art of silversmiths come together, giving rise to magnificent pieces of silverware that have become iconic emblems of the tournament. Every year, the trophies are infused with the winner's emotion, and no victory would be complete without lifting this Holy Grail. Full of laughter and tears, the prizegiving ceremony is an extraordinary tournament highlight. Poster: 80 cm h x 53 cm w Carnets: 22 cm h x 16.5 w – 106 pages Donated by: La Fédération française de tennis, FFT https://www.fft.fr T&C’s Apply Shipping can be arranged at cost to the final bidder

Downtown Abbey: Shooting Script (FINAL EVER Episode) signed by Jeremy Swift Jeremy Swift plays Septimus Spratt butler to Violet Crawley played by Dame Maggie Smith. The Downtown Abbey Shooting Script is from episode 4 of the final series. Shrouded in secrecy it was codenamed Castle. Jeremy has starred in the Apple TV hit show Ted Lasso, prior to that he was most recently seen in Mary Poppins Returns for Disney and appeared in Oliver Twist, Gosford Park and Jupiter Ascending. This unique item signed by Jeremy can be yours. Donated by: Anonymous T&C’s apply: Shipping can be arrange at a cost to the winning bidder

HEAD Radical racket signed by Andy Murray & commemorative tube of Wimbledon 2013 Championship tennis balls This replica HEAD Radical racquet is signed by the two time Wimbledon champion & Olympic gold medallist, Andy Murray. A unique item of tennis memorabilia, accompanied by a commemorative tube of Wimbledon 2013 Championship balls, the first year Andy won the coveted title. Donated by: Sir Andy Murray & 77 Group Sport Management https://www.andymurray.com T&C’s Apply Shipping can be arranged at cost to the final bidder

Roland-Garros: French Open Poster 2020 signed by the artist Pierre Seinturier with 2 beautifully illustrated books Au centre le court Philippe Chatrier & Trophies Your chance to bid for a unique item of tennis memorabilia, donated by La Fédération française de tennis (FFT) and signed by the artist, shining the spotlight on the people who work in the shadows of the tournament; the craftsmen of the red clay, in a poster bursting with intensity. Pierre Seinturier’s original piece is a poignant depiction of the courts being prepared at Roland-Garros, portraying the moment before the players step out on court as a dramatic and artistic event in its own right. The poster features vegetation in the foreground, which frames the actions of the grounds-men who work every day to prepare the red clay. The clay symbolises Roland-Garros. It is the only Grand Slam tournament to be held on this surface, so I had to include it in my piece. The court grounds-men also take centre stage. The president of the FFT calls them terriens. It’s a great nickname, very poetic. This poster evokes the preparation of the courts, just before the start of the matches, which are often amazing to watch. It was quite natural for me because I have always created paintings or drawings that depict the moments just before the action. These ‘terriens’, who we only see for a few seconds on television, play a vital role in the tournament,” explains the artist Pierre Seinturier. This stunning poster is accompanied by 2 beautifully illustrated books from Les Carnets de Roland-Garros collection, reflecting the spirit of the stadium, whilst inviting you to discover the unique stories that make the Parisian Grand Slam so special Au centre le court Philippe Chatrier 106 pages with illustrations: Every year, the Porte d'Auteuil becomes a hive of activity for three weeks. Roland-Garros stadium throws open its gates and the second Grand Slam of the year gets everyone's adrenaline pumping. At the epicentre of the action is the beating heart of the stadium, Philippe-Chatrier Court. This book invites readers to dive into the history of this legendary court, which stands the test of time thanks to its players, its spectators, its groundsmen and everyone whose passion brings it to life every year. Trophies 106 pages with illustrations: Celebrating the 40th anniversary of the Coupe des Mousquetaires, when sport and the art of silversmiths come together, giving rise to magnificent pieces of silverware that have become iconic emblems of the tournament. Every year, the trophies are infused with the winner's emotion, and no victory would be complete without lifting this Holy Grail. Full of laughter and tears, the prizegiving ceremony is an extraordinary tournament highlight. Poster: 80 cm h x 53 cm w Carnets: 22 cm h x 16.5 w – 106 pages Donated by: La Fédération française de tennis, FFT https://www.fft.fr T&C’s Apply Shipping can be arranged at cost to the final bidder

Billie Jean King: All In signed autobiography with private video message from Billie Jean for the final bidder A truly remarkable item of tennis memorabilia, All In an autobiography signed by the legendary US former #1 tennis player, multiple Grand Slam Champion, Hall of Famer and trailblazer for women’s tennis. Do visit the International Tennis Hall of Fame auction lot 110 with footage of Billie Jean King as one of the Original 9 being inducted at this year’s Enshrinement Weekend. If you are a women’s tennis fan, then you must be All In for this auction lot as it is not just a signed autobiography, but Billy Jean will also record a private video message to the final bidder. Donated by: WTA https://www.wtatennis.com T&C’s apply: Shipping can be arranged at the cost of the final bidder

Belinda Bencic Yonex EZONE signed racket A special item of tennis memorabilia signed by Swiss professional tennis player and Olympic Gold Medallist Belinda Benic. Signed, solid frame, unstrung for you to customise to your own experience level. Donated by: Yonex http://www.yonex.co.uk T&C’s Apply Shipping can be arranged at cost to the final bidder

Naomi Osaka: a signed Murakami limited edition Ezone Yonex racket, signed by the multiple Grand Slam tennis champion A truly special item of tennis memorabilia, in the form of a Yonex EZONE 98 racket, personally donated and signed by Naomi Osaka. One of the most explosive and influential tennis players of all-time, Naomi is the first Asian player to hold #1 ranking in singles and the first Japanese player to win a Grand Slam. Her extraordinary tennis triumphs combined with her off-court activism make her one of the biggest global names in sport. Naomi Osaka was the face of the Tokyo 2020 Games and had the highest honour of being the final torch bearer and lighting the Olympic cauldron. In 2013, Osaka entered the WTA professional circuit as a rising star quickly gaining fans and media attention through her powerful serve and strong forehand. Since then, she has won 4 Grand Slams - twice winning the US Open and Australian Open. She has won all 4 of her Grand Slam finals played, making her only the third player in history to do so after Monica Seles and Roger Federer. In 2020, Osaka was named Sports Illustrated Sportsperson of the Year, Ad Week’s Most Powerful Woman in Sports, Forbes Highest Paid Female Athlete of all Time and one of Time Magazine’s 100 Most Influential People, She has also graced the cover of The Wall Street Journal Magazine, Ad Week, Sports Illustrated, The New York Times, High Snobiety, Harper's Bazaar Japan and Vogue, to only name a few. Donated by: Naomi Osaka https://www.naomiosaka.com T&C’s apply: Shipping can be arranged at the cost of the final bidder

Emma Raducanu: WILSON US Open 2021 Replica Racket Signed A truly remarkable item of tennis memorabilia a Wilson US Open 2021 replica racket signed by Emma Raducanu, during this auspicious landmark year for the young British tennis sensation. At 18 years of age and having just received her A Level results, Emma started the Summer season ranked #366 in the world and #12 in Britain. It truly was a Fairy Tale in New York, as she battled through 3 qualifying rounds and 7 main draw matches, to become the youngest Grand Slam champion since Maria Sharapova in 2004. Not only is she the first British woman to win a Grand Slam title, since Virginia Wade won Wimbledon in 1977, Emma is also the first qualifier, man or woman, to win a Grand Slam singles title As this remarkable year for British tennis draws to a close, we are delighted to present this remarkable item of tennis memorabilia, signed by Emma Raducanu. Donated by: WTA https://www.wtatennis.com T&C’s apply: Shipping can be arranged at the cost of the final bidder

Pink Floyd Interstellar Paris Exhibition 2003, The End of the Road Poster A rare and special item of music memorabilia in the form of 1 of 2 posters created for the first Pink Floyd Exhibition Interstellar, held at Citié de la Musique, Paris, October 2003 – January 2004. Created by Pink Floyd designer Storm Thorgerson and StormStudios’ Peter Curzon. Storm, as one half of Hipgnosis alongside partner Aubrey ‘Po’ Powell, created Pink Floyd’s visuals from 1968. Donated by: Paula Webb Stainton, Pink Floyd Curator Poster: Unframed 80 cm h x 60 cm w T&C’s Apply Shipping can be arranged at cost to the final bidder

Ledley King: Signed Tottenham FC 2021 football shirt & a defending master class & coaching session for up to 4 with the former Tottenham & England International Tottenham Hotspur FC academy graduate, one of the greatest defenders, captain, legend, one-Club man – The King. Ledley King spent his entire football career at the club, playing in 323 competitive matches from 1999 until 2012, when a persistent knee problem forced him to retire at 31 years of age. His longstanding commitment to Spurs continues in his role of Club Ambassador and on the first team staff, as assistant coach for 2020/21 season. He also made 21 appearances for England between 2002 – 2010, scoring twice and representing the country at the UEFA Euro 2004 and the 2010 FIFA World Cup. In December 2000 Ledley gained the record for the fastest goal in Premier League history in just 9.82 seconds for Tottenham at Bradford City FC. This unique experience includes a Defending Master Class and personal coaching session for 4 with one of England’s greatest defenders, as well as an opportunity to own a very special item of Tottenham Memorabilia in the form of a 2021 season football shirt, signed by The King. Donated by: Ledley King https://www.tottenhamhotspur.com/the-club/history/legends/ledley-king/ T&C’s apply: Date and venue to be mutually agreed (subject to availability) with final bidder and Ledley King and the experience must be redeemed by end of 2022 (valid for 12 months only). Venue to be confirmed in London or within the radius of the M25 Subject to related government guidelines This experience cannot be re-sold or re-auctioned Travel is not included

Ca. 618–907 AD. Chinese Tang Dynasty. A beautiful marble statue of a seated bodhisattva depicted wearing voluminous robes elegantly draped over his wide shoulders and broad, muscular chest and cascading in deep folds over his pendant legs, falling to the sides of his seat and continuing down his back; the remains of his right arm resting on one thigh. Bodhisattvas are common figures in Buddhist literature and art. A bodhisattva is one who seeks awakening (bodhi)—hence, an individual on the path to becoming a Buddha. Perhaps the most striking feature of this marble fragment is its realistic portrayal of a seated figure revealed beneath drapery. The remains of his developed pectoral muscles appear above his inner garment that crosses from his left shoulder downwards to the right hip. The voluminous outer garment spreads in unevenly spaced pleats and folds that suggest the natural effects of gravity as they fall across the arms, pendant legs and the front edge of the seat supporting him. Provenance: Roger Moss OBE 1936-2020 (formerly the President of“The Oriental Ceramics society); item was acquired during his life in Hong Kong 1980-2003. Size: L:(with stand) 575mm / W:320mm ; 30k+g

Ca. 200–300 AD. Roman. A free-blown sprinkler flask of transparent green glass with a spherical body, dipping at the shoulders, a short cylindrical neck and a wide, flanged profile mouth. Some weathering and incrustation occur throughout the flask; the outside shows a beautiful iridescence. At the height of its popularity and usefulness in Rome, glass was present in nearly every aspect of daily life—from a lady’s morning toilette to a merchant’s afternoon business dealings to the evening 'cena' (dinner). Glass was often the preferred material for storing toilette oils, perfumes, and medicines in antiquity because it was not porous. The small body and mouth allowed the user carefully to pour and control the amount of liquid dispensed. By the 1st century AD, the technique of glass-blowing had revolutionised the art of glass-making, allowing for the production of small medicine, incense, and perfume containers in new forms. These glass vessels are found frequently at Hellenistic and Roman sites, and the liquids which filled them (perfumes, oils, medicines) would have been gathered from all corners of the expansive Roman Empire. To find out more about glass objects in the Roman world, Bayley, J., Freestone, I., & Jackson, C. (2015). Glass of the Roman World. Oxford And Philadelphia: Oxbow Books. For a similar item sold at Christie's, see https://www.christies.com/en/lot/lot-5385381. Provenance: Private UK collection; From an old British collection formed in the 1980s. Size: L:94mm / W:80mm ; 48.5g

Ca. 1300 AD. Medieval. A beautiful gold ring comprising an oval twisted hoop and applied fluted tulip bezel with a granulated border and inset emerald. Possibly Byzantine. Good condition; wearable. For more information on Medieval rings, see Tait, H. (1986). Seven Thousand Years of Jewellery. British Museum Press, London; Ward. A. et al (1981). The Ring from Antiquity to the Twentieth Century. Thames and Hudson, London; Hinton, D. (1982). Medieval Jewellery. Shire Publications, Princes Risborough. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase. Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: D: 16mm / US: 5 3/8 / UK: K 1/2; 5.4g

Ca. 200–300 AD. A grey chlorite-schist statue of Prince Siddhartha Gautama meditating beneath the Jambu tree. The figure is shown with the body held with a degree of relaxed strength, the head held up and the eyes closed in meditation. Between the brows is he urna and the nose is straight with small mouth and moustache above. The hair is neatly arranged and pulled to the back of the head. To the top of the head is turban with large fan shaped crest to the front and decorated with a small bust of the Buddha. To the black of the head is a large halo. Around the neck are three strands of necklaces, one falling diagonally over the chest with a series of amulet cases known as kavacha. The torso is bare apart from a loose fitting robe that hangs over the left shoulder and falls to the lap. The figure is seated on a low platform supported to either end by Greco-Bactrian columns. To the centre of the platform is a scene depicting Prince Siddartha breaking his fast and receiving an offering of rice from a young girl. To the other side are farmers ploughing with oxen., the two scenes divided by a tree. The sculpture represents Prince Siddartha, who would go on to become the Buddha, or “Enlightened One.” It combines the imagery of two scenes from the life of the Buddha, both taking place under a tree. As a young prince, Siddhartha, was taken into the fields to witness a plowing contest. He observed men sweating and exerting themselves as well as birds swooping down from the sky devouring insects. He soon became overwhelmed by these events, as they reflected the misery of human life and the inevitability of death. He left the contest and wandered until he found a wood apple (jambu) tree. He sat beneath this tree and entered into a trance. This event was a precursor to his subsequent meditation under the bodhi tree, which is symbolised by the young girl giving Siddartha a bowl of rice. After leaving his life of luxury at the palace, the prince joined a group of ascetics, but the future Buddha realised that punishing the body was not the way to find enlightenment and an end to suffering; nor was an indulgent life of pleasure that he experienced as a prince. Nearly at the point of death, the Buddha accepted an offering of food from a young peasant girl and thus broke with the extreme views of the ascetics. After recovering his health the Buddha realised that a middle way was required to find salvation, and so he set off to find a place to meditate and find the answers to the end of suffering. At a royal deer park at Sarnath, near the holy city of Varanasi on the Ganges, the Buddha sat beneath a Bidhi tree and meditated. After several years of mendicancy, meditation, and asceticism, he awakened to understand the mechanism which keeps people trapped in the cycle of rebirth. The Buddha then travelled throughout the Ganges plain teaching and building a religious community. The Buddha taught a middle way between sensual indulgence and the severe asceticism found in the Indian shrama?a movement. He taught a training of the mind that included ethical training, self-restraint, and meditative practices such as jhana (meditation) and mindfulness. The Buddha also critiqued the practices of Brahmin priests, such as animal sacrifice and the caste system. The figure can be distinguished from the enlightened images of the Buddha by the sumptuous robes and jewellery. The Buddha as an enlightened being is shown in the simple robes of a monk, no longer requiring the trappings of the material world. The Jambu/Bodhi tree behind the figure is beautifully rendered and forms a canopy protecting the prince whilst he meditates, and is reminiscent of the Naga serpent spreading its protective hood, that is depicted in images when he becomes the Buddha. The face of the prince shows calm resoluteness in his pursuit of the truth. Sometimes the fan shaped crest to the diadem has a lion decoration to it, but in this case it is the figure of the Buddha, a symbol of what the young prince will achieve in the near future. The piece shows the clear and crisp rendering of the robes, that recalls the styles of Hellenistic sculptures. Very often there are architectural elements that hint at the fusion of cultures that took place in the Gandhara region. In this case the columns display a fusion of Greek and Bactrian styles, whilst at other times they can be either purely Greek or Persian. The item was researched by Bret Gaunt. For a similar image see The Metropolitan Museum of Art, accession number 2005.314. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. Size: L:650mm / W:370mm ; 30k+g

Ca. 618–907. Tang Dynasty. A beautifully modelled terracotta male attendant standing on a flat base. The figure is shown with head turned in a responsive gesture; one hand is at his chest with a finger pointing to his left whilst the other arm lies along the body, the hand within the long red sleeve decorated with white flowers. A long light-blue tunic tied a the waist by a dark belt is worn over light blue pantaloons. Pointed shoes complete the attire. He has a finely modelled face with rosy cheeks and traces of red paint on the lips, whilst his cloth cap is black and fastened underneath the chin. In China, the custom of producing ceramic tomb sculptures reached its pinnacle during the Tang dynasty, one of the most peaceful, prosperous, cosmopolitan eras in China’s history. The Tang capital of Chang’an (present-day Xi’an, Shaanxi province) attracted numerous foreign traders, pilgrims, and goods, as the famed overland trade route known as the Silk Road terminated in this city. Large sets of ceramic sculptures representing the horses, camels, and foreign merchants that frequented northern China have been recovered from burials. Tang ceramic funerary retinues were especially elaborate, featuring fierce armoured guards, proud court attendants such as this item, and aristocratic equestrians engaged in leisurely pursuits—all serving to demonstrate the high status of the tomb occupant. For more general information on the Tang Dynasty, see Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:510mm / W:180mm ; 2.8kg

Ca. 3000–2000 BC. Indus Valley Civilisation. Beautiful set of three terracotta jars. The smallest one is standing on a ring foot. The interior is decorated with black painted running ibexes, surrounded by geometric motifs and concentric black lines. The one on the left is decorated with stylised felines, a tree, geometric motifs and concentric black lines. The largest one is also decorated with stylised felines, trees, geometric motifs and concentric black lines. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:Set of 3; 70-95mm / W:65-120mm ; 665g

Ca. 300–400 AD. A seated figure of the Bodhisattva Maitreya, the Buddha who is believed to be incarnated in the future for the salvation of mankind. Carved from a fine grained grey chlorite-schist, the figure displays sensitive treatment of the carving, particularly in the details of the robes. The head is turned to the left and is crowned by an elaborate headdress composed of a turban with strings of jewels and a characteristic fan shaped piece gathered to the front. The face is expertly carved with a sensitive, slightly smiling mouth, heavy lidded eyes and a straight nose characteristic of Eastern Roman art, and a moustache more commonly associated with indian art. Between the eyes is an Urna, one of the symbols of a great being that depicts the third eye that enabled the Bodhisattva the ability to see past the mundane world of suffering. The ears are pierced and elongated from the heavy earrings commonly worn by aristocrats of India and Central Asia at the time. Behind the head is a large halo.The body is strongly proportioned and across the chest are three strands of necklaces, one running diagonally across the chest and strung with a series of amulet cases known as Kavacha. These amulets are still worn in India today, and they were popular in the Roman Empire, with examples depicted on the famous Faiyum mummy portraits from Egypt. The left hand rests on the knee, whist the right was originally held up to the face in the so-called “pensive” manner that is a characteristic of Maitreya images. The figure sits on a throne with lattice work panels, and on the seat is a large cushion. The right leg is slightly drawn up in the so-called “royal ease pose”. The throne in turn is supported by a lotus flower, with the petals rendered in exceptionally fine realism.Maitreya is believed to be the future Buddha, who currently resides in the Tushita heaven. As a Bodhisattva he has achieved enlightenment, but not entered Nirvana, instead choosing to help living creatures achieve enlightenment too. His name is derived from the Sanskrit word Maitri, meaning “friend” and this in turn may be derived from the Persian deity Mithras, also known as Mithra or Mitra, whose name also meant friend. Indeed, it is possible that the cult of Maitreya may have been influenced by the Persian deity as Central Asia and parts of India were ruled by the Persian Empire prior to its conquest by Alexander the Great. The pensive pose that Maitreya displays, represents him seated in the Tushita heaven contemplating the suffering of living beings, and waiting until the time when he can enter the world for its salvation. This future time is believed to be when the teachings of the Buddha have disappeared and mankind is living in extreme suffering. Maitreya will then be incarnated in the world to save all living beings.The treatment of the robes, jewellery and headdress show that he is represented as a noble of the time from Northern India and Central Asia, and it would have been members of the elite who would have dedicated these reliefs at monasteries and popular sites of pilgrimage. This would have been a meritorious act in the hope of a better rebirth. The practice of offering reliefs seems to have come from Greece and Rome, where it was one of the primary acts of devotion. The production of devotional images, such as this, probably began in the late second century AD. These images were produced for worship by both the laity and the monastic community, and their production coincides with a decline in the popularity of narrative panels, almost all of which illustrate the sacred biography of the Buddha. This shift has often been seen as marking a transition in Buddhist ideology from the earlier Hinayana school of teaching, which emphasized the veneration of relics, to later Mahayana practices centred on the veneration of images of Bodhisattvas and cosmic Buddhas.Compared to the art of peninsular India, Gandharan art can be described as more naturalistic, both in the rendering of the body and in the movement of the garments. The representations of the Buddha and Bodhisattvas were inspired by the representation of Hellenistic and Roman gods and aristocracy. One of the closest parallels of art from the time of the Roman Empire is that from Palmyra, which was a trading hub between India and the west. Here, the religious and funerary reliefs display close similarities in the rendering of the facial features and carving of the folds of the garments, and especially in the decorative elements, such as the jewellery, to those depicted on Gandharan pieces. This clearly demonstrates the close trading ties between the east and the west that resulted in the sharing of cultural motifs and styles. This was not something new however, as the grey chlorite-schist so popular for the creation of Gandharan sculpture, was employed millennia earlier in the production of vases and small sculpture from Mesopotamia, and which were exported across the Near East and the Indus Valley civilisations.The item was researched by Bret Gaunt. For a similar piece see The Art Gallery of New South Wales, Australia, accession number 7, 1997; Beguin, G. (2009). Buddhist Art. Bangkok: River Books, 212, fig. 23. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. Size: L:870mm / W:350mm ; 30k+g

Ca. 3000–2000 BC. Indus Valley civilisation. An interesting terracotta storage jar, amber coloured. The exterior is decorated with black painted running ibexes, surrounded by geometric motifs and concentric black lines. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture which arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:80mm / W:110mm ; 285g

Ca. 900–1100 AD. Viking Age. An iron helmet comprising four triangular curved iron plates with bands outside supporting the structure of the helmet; perforated rim and loop at the top. Helmets of this type were once common across Europe in the post-Roman world through to the later Middle Ages. The item was studied by Russel Scott; famous lecturer, reenactor and expert of Viking period and medieval artefacts. His report will accompany the purchase. Provenance: Property of a UK collector; formerly in an old Dannish collection. Size: L:150mm / W:213mm ; 855g

Ca. 1200–800 BC. Greek Archaic Period. A bronze spearhead with a triangular, lentoid sectioned blade, raised midrib and a long tang. This item is mounted on a stand. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:124mm / W:25mm ; 25g

Ca. 600–400 BC. Scythian / Hellenistic. A well preserved short iron sword of the akinakes type (Greek ????????') with a pointed bevelled blade, flat guard, rectangular grip, and circular pommel; custom-made stand included. The item has been professionally restored and conserved. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) – inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46–48. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:525mm / W:70mm ; 355g

Ca. 700-1000 AD. Viking age. An iron sword with ad doubled-edged blade, broken off from the half and a wide, broad, tapering guard and circular pommel, corresponding broadly to Petersen’s Type W. The sword was an elite weapon during the Viking period, and only the most well-off warriors - the cavalry - would have been able to afford one. Such swords were used both by the Vikings and Khazars. The elite status of swords during the Viking age is made clear both by their presence in some of the richest graves as well as a law of Charlemagne, the Holy Roman Emperor, which requires soldiers who could afford to maintain a horse to be equipped with a sword. Excellent condition; on a custom stand. See Petersen, Jan (1919). De Norske Vikingesverd. Kristiania and Oakeshott, R. Ewart (1998). Records of the medieval sword. Boydell Press. The item was studied by Russel Scott; famous lecturer, reenactor and expert of Viking period and medieval artefacts. His report will accompany the purchase. Provenance: Viennese collection 1980s-2000s. Bought by a London private collector in Vienna in 2002. Size: L:457mm / W:165mm ; 725g

Ca. 100–200 AD. A grey chlorite-schist rectangular panel, carved with the impressed footprints of the Buddha. Each footprint is et within its own section, framed by a stylised leaf border with flower motif to the central upper and lower bands. Each foot is deeply carved with the toes appearing long and the ends carved in relief with the Triratna symbol. Below these, each toe has a Sawastika symbol of good fortune. The heel of each foot has a stylised flower that symbolises the Chakra wheel of the Buddhist law. Below this is a high relief Triratna symbol with stylised flower motif below.Prior to the arrival of the Greeks into India and Central Asia the depiction of the Buddha was forbidden. This was in accordance with the wishes of the Buddha who expressly forbid his followers to worship him, only to honour him as an enlightened teacher. Thus it was, that the Buddha was usually represented either by the Chakra wheel, an empty throne, the Triratna or the footprints of the Buddha. The use of the footprints as an object of veneration find their origins in Hinduism, the difference with Buddhist examples, being the inclusion of the Chakra wheel and other symbols.In that form they are found on Ashokan pillar capitals, as well as earlier carvings at Amaravati. the Dharmachakra form developed from a solar disc image and that it was a recognised holy symbol prior to the Mauryan period, when it became associated with Buddhist art. Here, the lotus at the centre is a development on the solar disc form, the lotus symbolising the Buddha’s purity of spirit. This appears to be a Gandharan innovation. Another Buddhist symbol, the Triratna, symbol of the Threefold Way, appears close to the heel and this incorporates the same lotus. A single lotus appears between the feet. On the toes, as well as the repeated Triratna, Swastika forms appear below, another long established and auspicious solar symbol which became incorporated into Buddhist and Jain art in this period.Sometimes the feet have two female figures to either side, which have been recognised as Yakshis, celestial maidens who have their origins in Hinduism. This Buddhapada slab is surrounded by a crossed border, an ornament frequently seen in Gandharan art, in narrative friezes, on the throne of the Buddha. This border effectively sanctifies the area within. Otherwise, the slab is smooth and unornamented, underlining the essential simplicity which characterises the Gandharan style and provides such a contrast with the crowded, energetic forms which featured in artworks from India.The veneration of the feet of gurus or deities was commonplace in ancient India, placing one's head at or under their feet being a ritual gesture signifying a hierarchy. These were made during the pre-Greco-Buddhist phase of Buddhist art at Sanchi, Bharhut, and other places in India, along with other symbols, such as the Bo-Tree and the Dharmachakra. Later, the footprint-making tradition became prominent in Sri Lanka, Cambodia, Burma, and Thailand. The Triratna is the symbol of the Three Jewels of Buddhism, being the Buddha, the teaching of the Buddha and the community of Buddhist practitioners. In early, pre-figurative Buddhist art, the Triratna is often seen as the principle image of veneration, taking the place of the Buddha.The footprints of the Buddha symbolize the Buddha's presence, as they are believed to be the imprints where the Buddha actually touched the ground. At the same time, the Buddhapada signify the Buddha's absence now that he has entered nirvana, and thus are a reminder of the Buddhist ideal of non-attachment.The item was researched by Bret Gaunt. For a similar example see The Yale University Art Gallery, accession number 2015.141.1. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: London private collection; formerly acquired in the 1990s in London; formerly in 1960s/70s British collection. Size: L:640mm / W:560mm ; 30k+g