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![Literature, bindings.[EAGLES (Rev. John)] The Bristol Riots, their Causes, Progress, and Consequences, Bristol 1832, 8vo, lit](https://cdn.globalauctionplatform.com/9c386304-0dc5-4996-a2cd-a5a600a820d5/e8c6d21d-e917-4e9c-ccbf-7824219425a4/468x382.jpg)
Lot 388
Literature, bindings.[EAGLES (Rev. John)] The Bristol Riots, their Causes, Progress, and Consequences, Bristol 1832, 8vo, lithograph frontispiece, lengthy Appendix section, later half calf; MEADOWS (K) Heads of the People, 2 vols. 1840-41, 8vo, illustrated, half morocco; TAYLOR (Isaac) Memoirs and Political Remains of the late Jane Taylor, two vols. in one, 1826, 12mo, inscription to head of title, full diced calf; few others poetry including illustrated (20)
![218-222 AD. Germe mint, magistrate T. Jul. Phontilius Alexandrus. Obv: [ ]K M AYR ANTWNEINOC CEB legend with laureate, cuiras](https://cdn.globalauctionplatform.com/775f2958-7d7f-4c6e-8eb4-a59a00dec3ba/26a60055-423c-468f-ea4a-c89201a225b2/468x382.jpg)
Lot 2165
218-222 AD. Germe mint, magistrate T. Jul. Phontilius Alexandrus. Obv: [ ]K M AYR ANTWNEINOC CEB legend with laureate, cuirassed bust right, aegis on chest. Rev: EPI CTR T IOYL FONTILIOY ALEXANDROY GERMHNWN legend in two lines around and beneath Herakles, naked, standing right, wielding club and holding one back leg of the Nemean lion which is attempting to flee to the right. Waddington 7037; Ehling 175; SNG France 992; Voegtli 2f; Mabbott I, 1797. 36.70 grams. [No Reserve] Fair. Extremely rare; only a few recorded.
Lot 33
2nd-1st century BC. A large oval cameo of smoky quartz displaying the head of the Gorgon Medusa in high relief studied by Professor Dr. Bernhard Overbeck of Staatlichen Münzsammlung Munich (Hellenistic period, later Augustus); finely carved facial features and eyebrows, abundant hair twisted and formed into wavy locks flanked by wings to the temples; snakes beneath the chin forming a Herculean knot; in an old silver mount. Property of a Surrey collector; formerly with Pierre Bergé, Brussels, Belgium, 1 December 2011, lot 372 (55,000-60,000 euros); previously in a private collection formed in the early 1980s. See Lapatin, K. Luxus: the Luxury Arts of Greece and Rome, Los Angeles, 2015; H. Gebhart, Gemmen und Kameen, Berlin, 1925, p.63, fig.74. Chiesa, G.S. Gem dalla corte imperiale alla corte Celeste, Milan, 2002, p.36, fig.6. Accompanied by a French export licence and an exposé by Professor Dr. Bernhard Overbeck. This cameo, according to Dr. Bernhard Overbeck, can be compared stylistically an amethyst in the Colonna collection in Rome, and a sardonyx in the Hessisches Landesmuseum Darmstadt. Professor Overbeck comments that this cameo bears many similarities to the Medusa head on the underside of the Tazza Farnese, a sardonyx cup that was carved in Alexandria in the second century BC to celebrate the marriage of Ptolemy VIII to Cleopatra III. Ancient methods of hardstone carving were based on principles that are still used today. The pieces were worked by manipulating various drills against them. The actual cutting was accomplished not with the point of the drill itself but by using the drill to rub powders into the stone. Hellenistic cameos are almost exclusively made from sardonyx and so this piece, being in smoky quartz, is a very rare example. In style Hellenistic cameos, as well as intaglios, exhibit in miniature the qualities of Hellenistic sculpture. They continue and develop the styles of earlier artists, such as Praxiteles, in the softness of the features, but also a passion and pathos that is seen in Lysippus and Scopas, both noted sculptors of the Hellenistic period. Pathos is most clearly depicted in the Medusa images of this time, as seen on this cameo, and the Tazza Farnese. This cameo displays the soft lines and crisp carving associated with Hellenistic court artists and Professor Overbeck is in little doubt as to the dating of this piece to the Hellenistic period due to the composition of the hair and the rendering of the wings and snakes; Medusa heads from later periods tend to be different and of a simpler design. He also notes similarities to an amethyst cameo from the Colonna Collection in Rome, which is also dated to the Hellenistic period and is comparable in its details and composition. Although somewhat stylised, the facial features of this cameo do suggest portraiture, and it is possible that the cameo depicts either Berenike II or Arsinoe II, both popular subjects for cameos, such as the amethyst cameo of Arsinoe II now in the Walters Art Museum, (accession number 42.190"). The mask of Medusa, or Gorgoneion, was believed to ward off evil, as well as to provide properties for renewed life; in Greek mythology the blood of Medusa was believed to bring the dead back to life. This piece was clearly meant to be worn, as seen in the attachment pin at the back. It may have been worn as a pendant or even as part of a diadem, as seen in the Hellenistic cameo that was attached to a Sarmatian gold crown from the Khokhlach burial mound, Rostov region, Russia, and now in the State Hermitage Museum, (inventory number 2213-2.) This cameo is an important piece that was most likely produced at one of the major Hellenistic capitals, most likely Alexandria, and produced for an élite member of society, such as a member of the Ptolemaic royal family. In the Hellenistic period the carving of small hardstones with figures of mythological characters or with portraits of rulers reached its peak. These were much admired by the Romans, as well as by later cultures, for their technical skill and aesthetic beauty. The practice of carving cameos was introduced by the Greeks in the fifth century BC, and with the emergence of the Hellenistic kingdoms after the death of Alexander the Great, master craftsmen set up workshops in the cities of these new empires, such as Antioch. The most noted cameo carvers were based in Alexandria and patronised by the Ptolemaic court. The Gorgons were daughters of Ceto and Phorcys. Of the three, Medusa alone was mortal. They were evil creatures of such ugliness that anyone who looked at them died petrified. Their heads were surrounded by snakes and they were provided with golden wings that allowed them to fly. Only Poseidon was not afraid of Medusa. She was beheaded by Perseus; from her severed neck Poseidon created two beings Pegasus, the winged horse, and Chrysaor, the warrior brandishing a golden sword. Medusa has often been depicted on cameos in Greek iconographic schemes where the treatment of the hair as wings and snakes may vary. The apotropaic aspect of the Gorgon's head is reinforced by the Herculean knot formed by snakes, her half open mouth and the accentuation of the expression of the eyes. 66 grams, 50mm (2"). Very fine condition.
Lot 332
1st-3rd century AD. A silver ring with tapering shank, wide, square shaped, flat bezel with square panel with balls of silver to the corners, in the centre two clasped hands. Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. 7.2 grams, 20.21mm external, 15.42 x 16.36mm internal diameter (approximate size British K 1/2, USA 5 3/8, Europe 16, Japan 11) Fine condition.
Lot 559
8th-12th century AD. A bronze barrel-shaped weight with two silver-inlaid with alpha and omega to one flat face. Property of a Surrey collector; acquired in the early 1970s. See discussion in Weber, K. Byzantinische Münzgewichte: Materialkorpus für 1-Nomisma-Gewichte, Schwelm, 2009. 171 grams, 35mm (1 1/2"). Very fine condition, cleaned and conserved.
Lot 871
7th century AD. An olive-shaped glass bead enclosed in a cage of four gold ribbed straps with integral loop. Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. Cf. MacGregor, A. & Bolick, E. A Summary Catalogue of the Anglo-Saxon Collections (Non-Ferrous Metals), Oxford, 1993, items 24.11, 24.13 and Parfitt, K. & Anderson, T. Buckland Anglo-Saxon Cemetery Dover, Archaeology of Canterbury New Series vol. VI, Canterbury, 2012, grave 391B, item f. 6.64 grams, 26mm (1"). Fine condition.
Lot 966
900-950 AD. A silver openwork discoid pendant with integral T-shaped tubular loop; raised gussetted rim enclosing a pair of S-shaped beasts with billetted bodies and comma-shaped tails, enmeshed gripping paws clutching the rim and their own bodies. Property of a German collector; acquired in the 1990s. Supplied with a positive X-Ray Fluorescence metal analysis certificate. Cf. Graham-Campbell, J. Viking Art, London, 2013, item 98; Korshun, V.E. Yazcheskye Priveski Drevnei Rusi X-XIV Vekov, Volume III, Moscow, 2013, items K.6.00-6.02. Despite the long period of overlap of Borre and Jellinge art styles, there are only few examples of their fusion. The principal and most popular motif of the Borre style displays an animal with gripping paws, usually enmeshed in a circular frame, while a typical Jellinge style beast is more slender with long, S-shaped body and ribbon decoration. The most famous example of a pendant featuring a fusion of these styles was found in a hoard from Vårby (Sweden), formed as a circle with a pair of Jellinge-style beasts with ribbon-shaped bodies in profile and heads with open jaws and extended tongues; however, each is provided with gripping paws and an enmeshed body, which are typical features of the Borre style. A few examples of these pendants were also found near the important trading settlement of Gnezdovo, near Smolensk, Russia. 16 grams, 43mm (1 3/4"). Extremely fine condition. Excessively rare.
Lot 970
Late 10th-early 11th century AD. A silver Scandinavian pendant of Riddarholmen type (also widespread in the historical Rus region), with integral loop; the openwork plaque with banded border and four panels, internal stylised zoomorph with hatched panel to the hip, gripping three-fingered hands to the body and border, two detailed feet, clearly visible facing mask below the loop with pellet eyes. From an old Munich collection; acquired on the German art market before 2000. Cf. Korshyn, V.E. Yazicheskiye Priveski Drevniye Rusi X-XIV Vekov, Moscow, 2013, items K.2.01-03. 3.77 grams, 31mm (1 1/4"). [No Reserve] Very fine condition.
Lot 1000
12th-13th century AD. A bronze dagger pommel cap with low-relief image of a griffin; Baltic workmanship. Property of a German collector; acquired in the 1990s. For similar style see Korshyn, V.E. Yazcheskye Priveski Drevnei Rusi X-XIV Vekov, volume III, Moscow, 2013, item K-110. 30 grams, 26mm (1"). [No Reserve] Fine condition.
Lot 1095
9th-11th century AD. A mixed group of bronze-cased weights comprising: one biconical with flattened ends, three pellets within a ring of points; one barrel-shaped with four pellets within a ring of points; one barrel-shaped with rings of pellets enclosing a design of straight and curved lines with pellet finials. From an old Munich collection; acquired on the German art market before 2000. See Weber, K. Byzantinische Münzgewichte: Materialkorpus für 1-Nomisma-Gewichte, Schwelm, 2009. 207 grams total, 18-34mm (3/4 - 1 1/4"). [3, No Reserve] Fine condition.
Lot 1224
4th-5th century AD. A D-section gold hoop with granules to the shoulders, square cell with inset garnet cloison, chi-rho intaglio. Property of a Surrey collector; acquired in the early 1970s. 3.37 grams, 20mm overall, 15.95mm internal diameter (approximate size British K, USA 5 1/4, Europe 10.0, Japan 9) (3/4"). Very fine condition.
Lot 1333
Toltec-Maya, Post Classic Period, 900-1200 AD. A sandstone frieze panel with head of a parrot or macaw, with large eye and curving beak, behind a jaguar leg with claws extended and above a scroll motif; to the front of the macaw head is the foot of a kneeling sacrificial ballplayer; below a row of circles with central dot. Property of an American collector; acquired 2014 at auction; previously with Los Angeles County Museum, Los Angeles, California, USA. Miller, M. and Taube, K. Gods and Symbols of Ancient Mexico and the Maya: An Illustrated Dictionary of Mesoamerican Religion, London, 1993 Accompanied by an Art Loss Register certificate. Both parrots and the related larger macaws were highly prized in Mayan society for their brilliant plumage. In ancient Mesoamerica, macaws were often identified with fire. In various Mayan books, or codices, macaws are shown holding flaming torches and the bird was sacred to Kinich Kakmo, or Sun-Faded Fire Macaw, a sun god that descended to Earth at noon to consume sacrificial offerings. Depictions of macaws are found at the ballcourts of Mayan cities, with monumental heads being placed at the top of the courts and acting as ball markers, such as at the ballcourt at Copan in Honduras. They are also seen in the decorative reliefs that cover the lower walls of the courts which depict the sacrifice of the defeated players and the fertility that their deaths will bring; this relates to the role of the solar symbolism of the ballcourts and Kinich Kakmo as the sun god who consumes the human sacrifices. The foot to the front of the macaw head in this panel could be that of a defeated ballplayer who has been sacrificed, and a similar scene is shown at the Great Ballcourt at Chichen Itza, which depicts the decapitation of players by the winners of the game. The jaguar leg on this panel relates to the jaguar form that the sun god takes when he descends to the underworld - a perilous time for the god that he could only survive by the sacrifices that took place at the ballcourts. 32 kg, 59cm (23 1/4"). Fine condition, break to left, from a larger block.
Lot 1489
2032 BC. A baked clay tablet with cuneiform text in columns: 1 ordinary quality sheep; 5 (bowls of) stew; 5 fish; (foods for) Hun-Shulgi, governor, when he went to the abrum of the wild donkeys. From a Portland, USA collection; collected before 1980. Owen, D.I. Cuneiform Texts Primarily from Iri-Sa?rig/?l-Šarr?k? and the History of the Ur III Period, CDL Press, 2013, pp. 187, text no. 330. The tablet comes from the palace archive of the Sumerian city Iri-Sa?rig. This messenger tablet is particularly interesting because the abrum (brush-wood?) phrase is unique. 38 grams, 40mm (1 1/2"). Fine condition.
Lot 1490
2037 BC. A baked clay tablet with cuneiform text in columns. From a Swiss collection; London collection, formed in the 1980s. Owen, D.I. Cuneiform Texts Primarily from Iri-Sa?rig/?l-Šarr?k? and the History of the Ur III Period, CDL Press 2013, pp. 93-94, text no. 97. From the palace archive of the Sumerian city Iri-Sa?rig. A messenger tablet is a voucher for rations of food and drink to be collected at way station during a journey. This one is particularly unique because each of named messengers is followed by a description of his mission: one portion of mutton, Zuzua, royal messenger, when he came for the soldier-workers at the place of the priestly office. According to prof. David Owen the Iri-Sa?rig archive is probably the archive of governor whose office was in the local palace. The king and other members of the royal family occasionally traveled to Iri-Sa?rig, perhaps on their way to or from Nippur or other towns. No town in Sumer was visited more often by the king than Iri-Sa?rig. This may explain the presence of so many royal messengers and other royal functionaries associated with the town. 48 grams, 59mm (2 3/4"). Fine condition.
Lot 1803
16th-19th century AD. A bronze ring with thin shank with lug to the bottom; wide bezel inscribed with Arabic text. Private collection, North London; acquired in the early 1980s. 4.6 grams, 18.64mm external, 16.00mm internal diameter (approximate size British K 1/2, USA 5 3/8, Europe 16, Japan 11) (3/4"). [No Reserve] Fine condition.
Lot 1823
7th-5th century BC. A lentoid-section leaf-shaped bronze blade with rectangular-section short hilt, flared upper end. From an important collection of ancient weaponry; acquired 1980s. See discussion in Branigan, K. Aegean Metalwork of the Early and Middle Bronze Age, Oxford, 1974, p.8-21. 487 grams, 46cm (18"). Fine condition.
Lot 1827
1000-800 BC. A lentoid-section tapering bronze blade with shallow midrib, short bronze grip, crescentic plaque to the shoulders on each face with gold cap to each securing rivet. From an important collection of ancient weaponry; acquired 1980s. See discussion in Branigan, K. Aegean Metalwork of the Early and Middle Bronze Age, Oxford, 1974, p.8-21. 431 grams, 46cm (18"). Fine condition.
Lot 1828
2nd millennium BC. A slender leaf-shaped blade with rounded shoulders and short pierced tang, raised midrib with two fullers. From an important collection of ancient weaponry; acquired 1980s. See discussion in Branigan, K. Aegean Metalwork of the Early and Middle Bronze Age, Oxford, 1974, p.8-21. 409 grams, 48cm (19"). Fine condition.
Lot 384
An Agatha Christie Limited Edition Writers series Mont Blanc fountain Pen, This pen is crafted from black enamel and decorated with a sterling silver snake clip with ruby eyes. Medium, 18 K two-toned rhodium plated gold nib with snake head motif. Includes packaging and papers. Limited Edition: 28356/30,000.
Lot 427
South Vietnamese Medals; Good Conduct Medal, The Gallantry Cross (Anh d?ng b?i tinh), Military Merit Medal and Training Service Medal, Technical Service Medal 'K? thu?t b?i tinh', Good Conduct Medal 'Quƒn phong b?i tinh' Vietnam Air Gallantry Cross with clasp and a ARVN Local Made Obligations Medal.
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137173 item(s)/page