A PENDANT AND A NECKLACE (2)Comprising; a gold, jade and diamond pendant, designed as a Chinese vase, with carved and peirced decoration, the gold suspension mounted with circular cut diamonds, detailed 14 K, width of jade 3.6cm, gross weight 30 gms, with a case and a cornelian bead necklace,spaced with filigree beads and blue enamelled spacers at intervals and also with two carved panels depicting birdsThere is slight variation of size to the cornelian beads, diameter of largest bead 15.5mm, diameter of smallest bead 11.5mm. The beads are in good condition, some damage to the pale blue enamel sides to the beads, not all of these appear to be present, i.e. there is not an enamel side to each side of each bead. The carved jade at one end is badly damaged (half missing)
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A VULCAIN GOLD CASED, KEYLESS WIND OPENFACED DRESS WATCHWith an unsigned jewelled lever movement, the signed silvered dial with black Arabic numerals, subsidiary seconds and with blued steel hands, detailed within the caseback 18 K, the case exterior with banded decoration and monogram engraved, case diameter 46.9 mm, gross weight 51.8 gms, with a caseWatch not currently working, balance wheel has slight movement, it is possible that the lubricating oil has run dry.There is no inner dust cover, the case interior is detailed 18 K VULCAIN 3 530998
A TIMOR BRITISH MILITARY ISSUE STAINLESS STEEL WRISTWATCHCirca 1945Movement: Timor Swiss Made 15 Jewels, Cal. 6060Case-back: TIMOR WWW K 11767 41667Inner dust cover presentCase diameter: 36mmLater associated strapCondition report;- Dial generally ok however the lume plots appear to have deteriorated - Case good with scratches and general wear- Glass lightly scratched- Movement currently functioningIt has been suggested that the hands have been changedBellmans does not guarantee the working order or accuracy of any clocks or watches sold and recommends professional servicing.
SEVEN ITEMS OF JEWELLERY (7)Comprising; a pair of 9ct white gold, sapphire, diamond and cultured pearl earrings, a pair of white gold, diamond and cultured pearl earrings, a pair of silver gilt and seed pearl earrings, these three with post and butterfly clip fittings, a pair of synthetic yellow sapphire and colourless gem set earrings, detailed 9 K, a white gold, tanzanite and diamond triangular pendant, detailed 18 K, a 9ct white gold neckchain and a gold, cultured pearl and diamond set clasp, detailed 750
A 9CT GOLD SLIDE ACTION TOOTH PICK AND TWO FURTHER ITEMS (3)The 9ct gold toothpick with engine turned decoration, London 1955, weight 3.3 gms, a gold cased, key wind, openfaced lady's fob watch, the enamelled dial with Roman numerals, detailed 14 K and a varicoloured gemstone set brooch, designed as a quartrefoil, gross weight 4.4 gmsAlthough the balance wheel is free, it does not properly engage the escapement wheel, which rocks backwards and forwards slightly, inner case is base metal, three or four shallow dents to the dents to the front of the case rim, various dents to the case back, particularly apparent when viewed from the inside of the case, case diameter 33mm, gross weight of watch 27 gms. Watch glass is replaced
TWO VICTORIAN PENDANTS (2)Comprising; a gold oval pendant locket, the front applied with a turquoise set initial K motif, the back glazed with a hair locket compartment and a gold pendant, mounted with an oval carbuncle garnet, within a scroll pierced surround, set with four half pearls at intervals, combined gross weight 16.4 gms
A view of the Mercury astronauts sharing breakfast with their doctor, Dr. William K. Douglas, on the morning of Alan Shepard's historic first American space flight; accompanied by three other photographs of six Mercury astronauts5 May 1961Four vintage gelatin silver prints on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), all with NASA captions on the verso
A DIAMOND DRESS RING, of bombé design pavé-set with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 0.90ct total, French assay mark, with maker's mark (undistinguishable), ring size K½Condition Report: Diamonds: approx. 0.90ct total, unable to estimate colour due to yellow mount, estimated clarity VS with a couple of SIEagle's head for French 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 9.30g
AN ART DECO DIAMOND BROOCH, CIRCA 1930, the openwork plaque set with European and single-cut diamonds, with millegrain detailing throughout, mounted in platinum, diamonds approximately 2.30cts total, maker's mark (partially visible), with security chain, width 5.1cmCondition Report: Diamonds: approx. 2.30cts total, estimated colour G/H with some I and a couple of J/K (smaller diamonds) - the central diamond approx. 0.25ct - estimated clarity VS with some SIStamped 950Maker's mark partially visibleTotal gross weight approx. 9.6g
A DIAMOND AND GEM-SET BROOCH, of openwork design set with old European-cut diamonds and circular-cut rubies accented with a circular-cut sapphire and square-cut emerald, diamonds approx. 3.00cts total, length 3.3cmCondition Report: Diamonds: approx. 3.00cts total, estimated colour I/J/K, estimated clarity VS-SIRubies: of red hue, medium to dark tone, well matched in colourSapphire: of blue hue, dark toneEmerald: of bluish-green hue, translucentWhite metal unmarked and untestedTotal gross weight approx. 7.5g
A silver hinged bangle, chased and engraved with scrolls, Hallmarked S&K, London, 1961 48.75g; a silver marcasite brooch in the form of a bow, hallmarked GE Ltd, 925 11.45g; a silver ring set with a green oval stone 7.56g gross; a silver oval locket and belcher necklace hallmarked 4.83g; a silver & enamel dress ring set with white stones 2.08g; Industrial Civil Defence Service Enamel Buttonhole Badge etc.
A John Pound & Co velum travel case, brass hardware, internal removable tray, label for John Pound & Co Ltd, London, 64cm wide39cm deep 20cm highCondition report: Wear and marks, commensurate with age and use.Initials N. Mc K stamped to the front. Interior with marks and staining.Leather straps intact.Luggage straps intact.
Early 2nd century AD. A silver ring with D-section hoop with expanding arms and shoulders, bezel with oval recess set with an octagonal carnelian gemstone inscribed in two lines in Greek 'EP / MOY' (of Ermos"). Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, items 290-291, for type. 9.02 grams, 23.01mm overall, 17.28mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9) (1"). From the late Alison Barker collection, a retired London barrister; from her collection formed 1960s-1990s. In Greek mythology, Hérmos was a deity who inhabited the homonymous river (the present Gediz) located in the ancient region of Lidia (present-day Turkey"). Ermos succeeded Hérmos as a common Greek name, used here on a signet ring. Fine condition, hoop split.
1st century BC-2nd century AD. A group of votive terracotta figure heads comprising: a helmetted head of Minerva (Greek Athena); a head of a sphinx with the Egyptian headgear Nemes; a head of a young male with curly hair and the sacerdotal sign on the brow; three female heads with Graeco-Egyptian and Roman coiffures; each mounted on a custom-made display stand. Cf. Savvopoulos, K., 'Popular divine imagery in Hellenistic and Roman Alexandria. The terracotta figurines collection of the Patriarchal Sacristy in Alexandria' in The Annual of the British School at Athens 2019, pp.1-52, figs.28, 31, 53. 570 grams total, 55-80mm high (8-11.3cm including stand) (2 1/4 - 3 (3 - 4 1/2)"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. These heads are probably from votive statuettes made in Alexandria's workshops and exported for the cult of Egyptian gods and divinities inside the Roman Empire. The material with which they were made seems to be a medium clay with inclusions of brown silt fabric. The rich and enormous female coiffures, arranged in one or two tiers of thick plokamoi, divided in thick locks that crown the heads, are noteworthy. [6, No Reserve] Fine condition.
2nd century AD. A pair of votive terracotta busts comprising: bust of god Serapis, depicted bearded as Zeus and Hades, with a bushel of wheat on his head; a bust of Isis, with spiral curls on the forehead and wearing the Hathoric crown; each mounted on a custom-made display stand. Cf. Savvopoulos, K., 'Popular divine imagery in Hellenistic and Roman Alexandria. The terracotta figurines collection of the Patriarchal Sacristy in Alexandria' in The Annual of the British School at Athens, 2019, pp.1-52, figs.26, 27; for the iconography of Serapis see Milleker, E.J., ‘Three Heads of Sarapis from Corinth’ in Hesperia: The Journal of the American School of Classical Studies at Athens, vol.54, no.2, Apr.-Jun., 1985, pp.121-135. 82 grams total, 69-83mm (145 grams total, 9.5-10.5cm including stands) (2 3/4 - 3 1/4 (3 3/4 - 4)"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. These busts are votive pieces linked to the cult of Egyptian deities, like Serapis, Isis and Harpocrates, inside the Roman Empire, and are probably a product of an Alexandrian workshop. Serapis was known to the Greek and Roman world already in the 3rd century BC in Alexandria, where Ptolemy I built a Serapeum in honour of the god. The name of the god means 'Osiris the bull' since after his death he became the ruler of the Outer world, while it was also believed that Osiris lived in the world through Apis, the bull. Isis is mainly always identifiable by her Hathoric crown, the so-called Basileion, and the typical Isis knot, formed with her garment at the centre of her chest, leaving her breasts uncovered. [2, No Reserve] Fine condition.
2nd century AD. A group of votive terracotta figure heads comprising: two female heads with Graeco-Egyptian coiffures, one with horned headgear, the third with hair arranged in a series of thick plokamoi, bound together at the back of the neck, both with round earrings attached to the lobes; the head of a Kanephoros (basket-bearer), the head crowned with a wreath decorated with a rhomboid pattern; each mounted on a custom-made display stand. Cf. Savvopoulos, K., 'Popular divine imagery in Hellenistic and Roman Alexandria. The terracotta figurines collection of the Patriarchal Sacristy in Alexandria' in The Annual of the British School at Athens, 2019, pp.1-52, figs.36, 42-45. 172 grams total, 49-77mm high (300 grams total, 8.2-10.6cm including stands) (2 - 3 (3 1/4 - 4 1/4)"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. These statuettes are all votive pieces linked to the cult of Egyptian deities, like Harpokrates, inside the Roman Empire, and are likely a product of an Alexandrian workshop. The rich and enormous female coiffures, arranged in high propolomas and divided in plokamoi, are noteworthy, reflecting the Graeco-Roman mode of the time. Very rare and exceptional is the head of the Kanephoros, who originally should have had both hands raised in order to support the kalathos(basket) containing pine-cones and a large cobra. The cobra possibly represents an Isis-Renenutet symbol typical for the Isis cult and imperial estates. [3, No Reserve] Fine condition.
1st-2nd century AD. A group of votive terracotta figures comprising: the bust of the god Serapis, depicted bearded as Zeus and Hades, with a bushel of wheat on his head; a bust of Isis, with spiral curls on the forehead and the Hathoric crown; a bust of the divine child Harpocrates, with the typical fingertip just below the lips of his mouth, his head covered by his Egyptian Royal Crown; part of a statuette of a female worshipper in orans pose, the right hand raised in prayer, the body covered by a folded cloak and the oval face framed by a rich Graeco-Roman coiffure; each mounted on a custom-made display stand. Cf. Savvopoulos, K., 'Popular divine imagery in Hellenistic and Roman Alexandria. The terracotta figurines collection of the Patriarchal Sacristy in Alexandria' in The Annual of the British School at Athens 2019, pp.1-52, figs.14,15,39,42; for the iconography of Serapis see Milleker, E.J., ‘Three Heads of Sarapis from Corinth’ in Hesperia: The Journal of the American School of Classical Studies at Athens, vol.54, no.2, Apr.-Jun., 1985, pp.121-135. 280 grams total, 80-87mm high (405 grams total, 10-10.5cm including stands) (3 - 3 1/2 (4 - 4 1/4)"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. These statuettes are all votive pieces linked to the cult of Egyptian deities, like Serapis, Isis and Harpokrates, inside the Roman Empire, and are probably a product of an Alexandrian workshop. Harpokrates, son of Sarapis and Isis, the deity-symbol of rebirth and fertility, was perhaps the most popular deity to be represented in terracotta figures. Serapis was known to the Greek and Roman world already in the 3rd century BC in Alexandria, where Ptolemy I built a Serapeum in honour of the god. The name of the god is considered to be composed from the names Osiris and Apis-the bull and means 'Osiris the bull' since after his death he became the ruler of the Outer world, while it was also believed that Osiris lived in the world through Apis. [4, No Reserve] Fine condition.
1st century BC-2nd century AD. A group of votive terracotta figure heads comprising: three female heads of orantes with circular earrings and Graeco-Egyptian coiffures, the hair arranged in a series of thick plokamoi, bound together at the back of the neck; two heads of Harpokrates, the divine child, with shaved head exhibiting the Egyptian royal braid at the right side of the skull and a low Egyptian headgear; a grotesque male portrait, representing a theatre mask, the eyebrows depicted frowning, the eyes incised in the middle to represent the pupils, wide nose, the mouth rendered with thick lips; each mounted on a custom-made display stand. Cf. Savvopoulos, K., 'Popular divine imagery in Hellenistic and Roman Alexandria. The terracotta figurines collection of the Patriarchal Sacristy in Alexandria' in The Annual of the British School at Athens, 2019, fig.16, 20, 24, 34, 39, 41, 42, 49, 50, 51. 185 grams total, 41-56mm high (240 grams total, 57-68mm including stands) (1 1/2 - 2 1/4 (2 1/4 - 2 1/2)"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. These heads are all votive pieces linked to the cult of Egyptian deities inside the Roman Empire, and are probably a product of a workshop in Alexandria. [6, No Reserve] Fine condition.
2nd century AD. A group of votive terracotta figures comprising: the head of god Serapis, depicted bearded as Zeus, with a bushel of wheat (kalathos) on his head; a head of Isis, with curls on the forehead and the Hathoric crown (Basileion); a head of the goddess Athena (Minerva) with a pseudo-Corinthian helmet on the head; a head of a female deity (Demeter, Aphrodite, Hera?) with two curls of hair tied in a bow on her forehead and the head crowned by a crown (stephane); three female heads with circular earrings and Graeco-Egyptian coiffures; a head of the god Harpokrates, with the typical fingertip just below the lips of his mouth (the point of the finger still visible), long locks and Greek diadem; each mounted on a custom-made display stand. See Savvopoulos, K., 'Popular divine imagery in Hellenistic and Roman Alexandria. The terracotta figurines collection of the Patriarchal Sacristy in Alexandria' in The Annual of the British School at Athens 2019, pp.1-52, figs.14,15,30,39,41-42; for the iconography of Serapis see Milleker, E.J., ‘Three Heads of Sarapis from Corinth’ in Hesperia: The Journal of the American School of Classical Studies at Athens, vol.54, no.2, Apr.-Jun., 1985, pp.121-135. 170 grams total, 32-59mm high (240 grams total, 54-74mm including stands) (1 1/4 - 2 1/4 (2 - 3)"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. The heads originally belonged to votive statuettes produced in Alexandrian workshops and exported for the cult of Egyptian gods and divinities in the Mediterranean. [8, No Reserve] Fine condition.
3rd century AD. A double-edged spatha of Lauriacum Hromówka typology; the blade with four blood channels running along the majority of its length, parallel cutting edges tapering towards the triangular point. See Biborski, M., ‘Miecze z okresu wp?ywów rzymskich na obszarze kultury przeworskiej’, in Materia?y Archeologiczne XVIII, 1978, pp.53-165; Czarnecka, K., ‘Two newly-found Roman swords from the Przeworsk culture cemetery in Oblin, Siedlce District, Poland’ in JRMES 3,1992, pp.41-56; Bishop, M. C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Biborski, M., ‘Römische Schwerter im Gebiet des europäischen Barbaricum’, in JRMES 5, 1994, pp.169-198; Biborski, M. & Ilkjar J., Illerup Ådal 12. Die Schwerter. 1. Textband. 2. Tafeln und Fundlisten, Moesgard, 2006; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; Guillaud I., Militaria à Lugdunum: étude de l’armement et de l’équipement militaire d’époque romaine à Lyon (1er s. av.-IVe s. apr. J.-C.), Archéologie et Préhistoire, Lyon, 2017; for very similar specimens see Miks, 2007, nos.A146, 2, 8, 15, 17, 23, 24, 31, 41, pls.73,88; A676, pl.104; A796, 4, pl.116. 915 grams, 79cm long (31"). From the late Alison Barker collection, a retired London barrister; from her collection formed early 1960s-1990s. A wide range of spathae have been found dating from the late 2nd to the late 4th century AD. There are today several hundred attested Roman longswords scattered throughout Europe. Specimens of Roman spathae of the 2nd and 3rd centuries have been found in large numbers in the Danish bogs (Nydam, Straubing, Thorsberg, Illerup"). These swords show a great deal of variability, in terms of shape and dimensions; today a typological framework is well-established, thanks to the work of academics including Ulbert, Biborski and Miks. This particular type is the Lauriacum-Hromówka of which more than thirty specimens have been found in Poland. Fair condition.
10th-11th century AD. An iron broad axehead of asymmetrical profile with broad flaring triangular-section blade extending to a curved edge, socket with lateral flanges and hammer extension to the rear. Cf. Arbman, H., Birka I: Die Gräber, Uppsala, 1940, pl.14, nos.2,5.; see also the River Thames find in Williams, G., Pentz, P. & Wemhoff, M. Vikings Life and Legend, London, 2014, item 58; Hjardar K. and Vike, V., Vikings at war, Oxford-Philadelphia, 2016, p.162, for a similar specimen from Troms, dated 1000-1050 AD. 261 grams, 17cm (6 3/4"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. The broad axe of type M is a weapon specifically designed as battle-axe with the edge, being Þunssleginn, i.e. thinly forged, down towards a thickness of 2.5mm. These broad axes were the prerogative of the housecarls of the Anglo-Danish King Canute, of the guardsmen fighting around Harold at Stamford Bridge and Hastings in 1066 AD and of the famous Varangian Guard of the Roman emperors of Constantinople. [No Reserve] Very fine condition, professionally cleaned, conserved and restored.
10th century AD. A matched pair of iron stirrups, each a long lozenge-section arch with rhomboid-shaped finial and side bosses to each end of the dished footplate, attachment panel above with rectangular slot for the leather strap. Cf. Hjardar, K. and Vike, V., Vikings at war, Oxford-Philadelphia, 2016, pl. p.155; Seaby, W.A. & Woodfield P., ‘Viking stirrups from England and their Background’ in Journal of The Society for Medieval Archaeology, 1980, pp.87-122, figs.1,9. 836 grams total, 22cm each (8 1/2"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. The stirrups correspond to the type 2Cii of the Seaby and Woodfield classification, and are very similar to the ones found in the famous warrior grave of Gjermundbu. The side bosses, characteristic of this typology, might be explained either as a rivetted junction where the tread is an integral part of the stirrup, the opposite knob being added for symmetry, or as an interpretation in iron of the projecting ends of a wooden tread inserted in a leather sling. [2, No Reserve] Very fine condition, professionally cleaned, conserved and restored.
16th-17th century AD. A gold finger ring comprising a D-section hoop with segmented bezel formed as five facetted domes each with an inset white cut diamond; rounded lateral spurs to the median dome; Elizabethan period or slightly later. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, items 685, 709, 715, for type. 3.02 grams, 20.42mm overall, 16.31mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9) (3/4"). From the late Alison Barker collection, a retired London barrister; from her collection formed early 1960s-1990s. Accompanied by scholarly note TL0415 by Dr. Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11078-184381. [A video of this lot is available to view on Timeline Auctions Website.] Very fine condition.
14th-15th century AD. A gold D-section annular band with plain external face, the internal face with Anglo-French inscription 'le [star] vostre [star star]' in blackletter script; the most obvious translation is 'yours', but the phrase le vostre is listed separately in the Anglo-Norman Dictionary in a quasi-legal sense which the Dictionary defines as 'your property'; in the feudal tradition of amour courtois, in wearing the ring, the wearer is acknowledging his/her humble status as a chattel belonging to the giver. 1.86 grams, 17.91mm overall, 16.07mm internal diameter (approximate size British K 1/2, USA 5 1/2, Europe 10.58, Japan 10) (3/4"). UK antiques market between 1974-1985. From the Albert Ward collection (part 2), Essex, UK. In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardisation in spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Some sources suggest that rings were acquired ready- engraved, and that they may have been engraved sometime after their initial production and by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.] Very fine condition.
South Netherlandish or South German, late 16th century AD. A limestone statuette of a soldier seated on a bench supporting his head on his right hand; a close-fitting morion helmet on the head with notched crest and flared neck-guard covering a full head of flowing locks which extend to the shoulders and merge with a long beard; the body enclosed in a tight-fitting muscle-cuirass with pteruges and short puffed sleeves; the bare legs extending to calf-length boots; the left arm cradling the octagonal-section shaft of a spontoon or pike, with socket to the upper end to accept the blade (absent) and horse-hair plume resting on the shoulder; probably one of the figures from a scene of Christ's Resurrection. See Levin, S., Pedemonti, N., Bruno, L., ‘Resurrecting della Robbia’s Resurrection: Challenges in the Conservation of a Monumental Renaissance Relief’ in Hamilton, E., Dodson, K., Objects Specialty Group Postprints, Volume Twenty-Four, 2017, pp. 388–412. 11.5 kg total, 41.5cm including stand (16 1/2"). Art market, France, 2012. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11116-184115. The Resurrection was one of the more powerful images used to promote the Christian message during the Middle Ages. It usually takes the form of a triumphant Christ stepping out of the tomb in which he had been placed after the Crucifixion while a number of Roman soldiers slumber peacefully around it. The present figure is dressed in a Renaissance interpretation of Roman military clothing, but equipped with a contemporary staff weapon. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
15th-12th century BC. A sheet-gold ring with narrow hoop and pointed oval bezel, the bezel curved to provide a shield-like ridged form. See Schuchhardt, C., Schliemann’s Ausgrabungen in Troja, Tiryns, Mykene, Orchomenos, Sphata, Leipzig, 1890; Evans, Sir A., The Mycenaean Tree and Pillar Cut and its Mediterranean relationships, London, 1901; Evans, Sir A., The Palace of Knossos, London, 1921; Mellersh, H.E.L., Minoan Crete, New York, 1967; Marshall, F. M., Catalogue of the Finger Rings Greek, Etruscan and Roman in the Departments of Antiquities of the British Museum, London, 1968; Boardman, J., Greek gems and finger rings, London, 2001; Nakassis, D., Gulizio, J., James, S.A., Ke-Ra-Me-Ja, studies presented to Cynthia W. Shelmerdine, Philadelphia, 2014. 3.48 grams, 21.57mm overall, 16.29mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9) (1"). By repute from the private collection of Joan Evans (1893-1977), a British historian of French and English medieval art and jewellery, the majority of her collection was bequeathed to the Victoria and Albert Museum in London. Acquired from Phillips Son & Neal, London, UK, in the 1970s. Property of an Edinburgh lady. Accompanied by a letter and four page report no.94506 by Independent Art Research Ltd & The Cambridge Centre for Precious Metal Research, both signed by Dr Jack M. Ogden, and dated 25 and 7 November 1994 respectively. Accompanied by an archaeological expertise by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11111-182923. This simple bezel form had a long life in the Aegean world, first found in Minoan times and continuing through to the end of the Mycenaean period.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
3rd century AD. A gold finger ring with flared shoulders ornamented with foliage motifs, central ellipsoid cell and inset carnelian cabochon with intaglio dolphin motif. Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, items 207, 230, for type. 7.16 grams, 20.22mm overall, 15.85mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9 1/2) (3/4"). German collection before 2000. Collection of Mr D.H., formed in UK, from the EU art market. Property of a Surrey gentleman. Fine condition.
Hornby 0 Gauge and K-line electric Track and repro Hornby Showcards, a dozen pieces Hornby double-track 3-rail curves (a circle) and one straight, all G, together with T20 and T20M transformers, both F, (need re-wiring), with three repro Hornby display cards and other layout paperwork, together with 32 K-line 3' radius curved rails (2 circles), all VG, and a box of Hornby 3-rail track including 4 points. 2 crossings, curved and straight rails, F-G (qty in 3 boxes)
A Bachmann American Gauge 1 NYC Train Set, comprising NYC&HRRR black with silver trim 2-rail 4-6-0 Locomotive No 948, fitted with smoke unit and switch to smokebox, with bogie tender 'William K Vanderbilt', crimson coach No 999 and baggage/mail van in cream and brown, all G-VG, and a circle of original Bachmann track, P-F (in 3 boxes)
Airfix Mainline and others 00 Gauge Goods Rolling Stock Track Signals and other Accessories, seven modified or kitbuilt weathered Cement Wagons, Mainline, United Glass and ESSO Tank wagons, Hopper Wagons (2), kitbuilt LMS Open trucks (3), Wrenn Saxa Salt, Lima J K Harrison Open trucks (3), pair of Tri-ang coaches painted black and converted to an articulated set, Hornby Turntable (boxed), 12 metal signals by Hornby, Crescent and Dublo all with painted bases, strung to two pieces of card (one lacks a base), Piko Curved track (12), five pieces of unpainted scenic river, Hornby Lyddle End N Hauge Coal Hopper (boxed), Books, Beauty and the Beast and Two Great Classics, generally G, boxes F-G (qty)
Large collection of 00 Gauge Trees Hedges Bushes and other scenic items by various makers, various trees from 2'' to 18'' in height (90+ factory made), various Hedges (8), WWS Plants, bags of Lichen, K&M Gorse Bushes, wall and wood fencing, Farm Animals, Merit Lamps together with a box of paints , modelling material and tools, F-VG (qty)
Three watercolours, an oil on canvas and a coloured photograph, the first comprising two landscapes signed Y. Hasegawa and one signed K. Inouye of a Japanese temple entrance, the second a still life inscribed verso Elzbieta Lupinska Stepniak, 1990, the last of a circa 1900 scene of two girls playing, all framed and glazed, largest 58.5cm x 49cm
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137173 item(s)/page