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Lot 106
Diamond set engagement ring and wedding band engagement ring with six princess cut diamonds and round brilliant cut diamond set shoulders, mounted in 18 ct white gold, ring size L and K. CONDITIONgross weight 5.8 gramsengagement ring inside band engraved 0.33 carats total Please see ewbanks.co.uk for condition reports and further images
Lot 118
Emerald and diamond cluster ring, central oval cut emerald, set in a border of round brilliant cut diamonds, estimated total diamond weight 0.80 carats, emerald 4.5 x 5 mm mounted in 18 ct , ring size K. CONDITION18 ct gross weight 3.1 gramsTop surface of emerald is rubbed and there are a couple of small chips to the girdle Please see ewbanks.co.uk for condition reports and further images
Lot 129
Antique ring, set with oval cabochon cut turquoise, pearl and old cut diamonds, estimated total diamond weight 0.24 carats, mounted in 18 ct, ring size K. CONDITION18 ct gross weight 2.9 gramsturquoise 4.91 x 3.78mmpearl 4.43 x 4.12mm Please see ewbanks.co.uk for condition reports and further images
Lot 146
Two sapphire and diamond rings, one vintage three stone cluster, ring size K and a dress ring, size L, both mounts stamped 18 ct. CONDITION18 ct gross weight 7.9 gramsThree stone cluster ring, central oval cut sapphire has two small chips to top surface, evidence of wear to under gallery, all stones set securelyGood Condition Sapphire dress ring, all stones set securely Please see ewbanks.co.uk for condition reports and further images
Lot 147
Diamond full eternity ring, claw set with fifteen round brilliant cut diamonds, estimated total diamond weight 3.00 carats, mount testing as platinum, ring size K. CONDITIONPlatinum gross weight 4.7 gramsestimated colour H/Iestimated clarity Vs-IThree claws would benefit from re-tipping One diamond has small chip to girdle Please see ewbanks.co.uk for condition reports and further images
Lot 190
Grey pearl cluster ring, surrounded by eight round brilliant cut diamonds, estimated total diamond weight 1.20 carats, mounted in 18 ct, ring size Q. CONDITIONgross weight 5 gramstop of pearl slightly worn Estimated clarity Vs-IEstimated colour J/K Please see ewbanks.co.uk for condition reports and further images
Lot 201
Contemporary diamond ring; two pear form stones with central bezel set with two round cut stones, estimated total diamond weight 1.29 carats, set in 18 ct white gold, ring size K. CONDITION 18 ct gross weight 5.7 gramsOne pear cut diamond 7.07 x 4.91 x 2.79 - 0.58 caratsEstimated colour L/MEstimated clarity VS Please see ewbanks.co.uk for condition reports and further images
Lot 210
A Mikimoto graduated pearl necklace to a white gold clasp, 49 cm . CONDITIONOverall good conditiongross weight 17.2 gramslargest pearl measuring approximately 8mm in diametersmallest pearl measuring approximately 3mm in diameterstrung with knotscream coloured pearl with pink tonesclasp stamped W.G 10 K with Mikimoto logo to the reverse, clasp opens and closes securely No Box Please see ewbanks.co.uk for condition reports and further images
Lot 224
Diamond eternity ring, set with small brilliant cut stones in platinum, ring size N, and a ring set with blue synthetic spinel . CONDITIONPlatinum gross weight 3.6 gramsSpinel ring, testing as 14 ct, gross weight 2 grams, ring size K, spinel setting has two claws missing Please see ewbanks.co.uk for condition reports and further images
Lot 225
Antique jewellery, late Victorian seed pearl ring, ring size N, another pearl and enamel set, size J, coral three stone, size K, all in 18 ct and Edwardian turquoise and seed pearl bar brooch, mounted in 9 ct, 7.5 x 0.8cm . CONDITION18 ct gross weight 8.6 grams9 ct gross weight 3.0 gramslate Victorian seed pearl ring, one pearl is worn on top and all pearls slightly dis-coloured, band is slightly mis-shapenpearl and enamel ring, all pearls slightly dis-coloured, there are three chips to the blue enamel, inside of ring under setting a is small glazed panel coral ring has light scratches to golds surfaceEdwardian brooch, all pearls and turquoise set securely, pin and catch fitting Please see ewbanks.co.uk for condition reports and further images
Lot 273
Vintage gold parker 61 pen with engine turned decoration, marks for Parker, made in England and hallmarked London 1968 . CONDITIONWeight of case only ( pen and cylinder removed ) is 21.5 grams, gross weight 31.4 grams In original red parker box Made in Englandcartouche engraved 'K H K'measuring approximately 13.6cm in length Please see ewbanks.co.uk for condition reports and further images
Lot 289
Three gem set rings, one set with three diamonds, size L another set with two round cut sapphires, size K and a double white paste set twist ring, size J, all in 9 ct . CONDITION9 ct gross weight 3.7 gramsall rings bands are mis-shapen Please see ewbanks.co.uk for condition reports and further images
Lot 301
Jorgen Jensen pewter collar and cuff both marked Denmark 129 other jewellery, including sapphire and paste set cluster ring in 9 ct, ring size K, three silver marcasite set rings, brooches, and other items. CONDITION 9 ct gross weight 1.5 gramsSilver gross weight 37.6 gramsilver box ring has split in bandBird brooch and Bezau brooch are both silver, all other brooches are base metalFish pendant testing as base metal Please see ewbanks.co.uk for condition reports and further images
Lot 34
Three stone diamond ring, three round brilliant cut diamonds, estimated total weight 0.80 carats, with Swiss cut diamond set shoulders, mount stamped 18 ct and platinum, ring size K. CONDITIONOverall good condition18 ct gross weight 2.2 gramsEstimated colour J-MEstimated clarity Ilight wear to under gallerydiamonds set securely Please see ewbanks.co.uk for condition reports and further images
Lot 71
Art Deco panel ring, centrally set with square cut sapphire, surrounded by transitional cut diamond, estimated total diamond weight 0.50 carats, mounted in platinum, ring size K. CONDITIONPlatinum gross weight 3 gramsTop of sapphire is rubbed Top of ring measures approximately 1.5 x 0.5cm Please see ewbanks.co.uk for condition reports and further images
Lot 142
Dahmen, Karl Fred1917 Stolberg - 1981 PreinersdorfComposition XI ("Midi"). 1955. Oil on canvas. 61.5 x 45.5cm. Signed lower right: Dahmen. Once more signed, dated and titled verso: K. F. Dahmen 1955 'Midi'. Studio bar. Provenance:- Private collection North Rhine-WestphaliaExhibitions:- Städtische Kunsthalle Mannheim, 1959 (label)Literature:- Weber, Thomas: K. F. Dahmen - Catalogue raisonné, vol. I, 1946-1965, Cologne 2003, cat.rais.-no. 015.55 - B 0438, p. 140, ill.- La Motte, Manfred de (ed.): K.F. Dahmen, vol. 19 of the paperback series of the Galerie Hennemann, Bonn 1979, p. 261, ill. (here with divergent measurements: 60 x 45cm). VAN HAM Art Estate represents Karl Fred Dahmen’s estate since 2013.Explanations to the CatalogueKarl Fred Dahmen Germany Post-War Art Post War 1950s Abstract Painting OilDahmen, Karl Fred1917 Stolberg - 1981 PreinersdorfComposition XI ("Midi"). 1955. Öl auf Leinwand. 61,5 x 45,5cm. Signiert unten rechts: Dahmen. Nochmals signiert, datiert und betitelt verso: K. F. Dahmen 1955 'Midi'. Atelierleiste. Provenienz:- Privatsammlung Nordrhein-WestfalenAusstellungen:- Städtische Kunsthalle Mannheim, 1959 (Aufkleber)Literatur:- Weber, Thomas: K. F. Dahmen - Werkverzeichnis, Bd. I, 1946-1965, Köln 2003, WVZ.-Nr. 015.55 - B 0438, S. 140, Abb.- La Motte, Manfred de (Hrsg.): K.F. Dahmen, Bd. 19 der Taschenbuchreihe der Galerie Hennemann, Bonn 1979, S. 261, Abb. (hier abweichende Maße: 60 x 45cm)VAN HAM Art Estate vertritt seit 2013 den künstlerischen und schriftlichen Nachlass von Karl Fred Dahmen. Erläuterungen zum KatalogKarl Fred Dahmen Deutschland Informel Nachkriegskunst Unikate 1950er Abstrakt Gemälde Öl- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Lot 143
Dahmen, Karl Fred1917 Stolberg - 1981 PreinersdorfUntitled. 1980. Mixed media on canvas. 215 x 180.5cm. Signed and dated verso centre: K.F. Dahmen 1980. Above this marked with directional arrow. Framed. Provenance:- Estate Karl Fred DahmenExhibitions:- Galerie Regio, March-Hugstetten (stamp)Literature:- Weber, Thomas: K. F. Dahmen - Catalogue raisonné, volume II, 1966-1981, Cologne 2003, cat.rais.-no. 020.80 B 0048, p. 437, ill. VAN HAM Art Estate represents Karl Fred Dahmen’s estate since 2013.Explanations to the CatalogueKarl Fred Dahmen Germany Post-War Art Post War 1980s Abstract Painting Mixed mediaDahmen, Karl Fred1917 Stolberg - 1981 PreinersdorfOhne Titel. 1980. Mischtechnik auf Leinwand. 215 x 180,5cm. Signiert und datiert verso mittig: K.F. Dahmen 1980. Darüber mit Richtungspfeil versehen. Rahmen. Provenienz:- Nachlass Karl Fred DahmenAusstellungen:- Galerie Regio, March-Hugstetten (Stempel)Literatur:- Weber, Thomas: K. F. Dahmen - Werkverzeichnis, Band II, 1966-1981, Köln 2003, WVZ.-Nr. 020.80 B 0048, S. 437, AbbVAN HAM Art Estate vertritt seit 2013 den künstlerischen und schriftlichen Nachlass von Karl Fred Dahmen. Erläuterungen zum KatalogKarl Fred Dahmen Deutschland Informel Nachkriegskunst Unikate 1980er Abstrakt Gemälde Mischtechnik- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Lot 145
Dahmen, Karl Fred1917 Stolberg - 1981 Preinersdorf"Tele-Landschaft mit Objektschrein". 1970. Upholstery picture with collage in object box. 96.5 x 82.5 x 7cm. Signed lower left: Dahmen. Verso again signed, titled, dated and inscribed: K.F. Dahmen Tele-Landschaft mit Objektschrein 1991. As well as equipped with directional arrow and measurements. Provenance:- Galerie Boisserée, Cologne- Estate Karl Fred DahmenExhibition:- Galerie Boisserée, Cologne 1993 and 1994Literature:- Weber, Thomas: K. F. Dahmen - Werkverzeichnis, Vol. II, 1966-1981, Cologne 2003, cat. rais. no. 030.71 - B 0085, p. 168, ill. VAN HAM Art Estate represents Karl Fred Dahmen’s estate since 2013.Explanations to the CatalogueKarl Fred Dahmen Germany Post-War Art Sculptures 1970s Abstract Object Mixed mediaDahmen, Karl Fred1917 Stolberg - 1981 Preinersdorf"Tele-Landschaft mit Objektschrein". 1970. Polsterbild mit Collage in Objektkasten. 96,5 x 82,5 x 7cm. Signiert unten links: Dahmen. Sowie verso nochmals signiert, betitelt, datiert und bezeichnet: K.F. Dahmen Tele-Landschaft mit Objektschrein 1991. Sowie mit Richtungspfeil und Maßangaben versehen. Provenienz:- Galerie Boisserée, Köln - Nachlass Karl Fred DahmenAusstellungen:- Galerie Boisserée, Köln 1993 und 1994Literatur:- Weber, Thomas: K. F. Dahmen - Werkverzeichnis, Band II, 1966-1981, Köln 2003, WVZ.-Nr. 030.71 - B 0085, S. 168, Abb.VAN HAM Art Estate vertritt seit 2013 den künstlerischen und schriftlichen Nachlass von Karl Fred Dahmen. Erläuterungen zum KatalogKarl Fred Dahmen Deutschland Informel Nachkriegskunst Objekte 1970er Abstrakt Objekt Mischtechnik- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Lot 174
Hartung, Hans1904 Leipzig - 1989 Antibes"T 1980 - K 9". 1980. Acrylic on canvas. 50 x 65cm. Titled verso on stretcher: T 1980 - K 9. Craftman's frame. This work is registered in the archive of the Foundation Hans Hartung and Eva Bergman, Antibes, and will be listed in the catalogue raisonné that is currently under production. We thank the foundation and Mr. Jean-Luc Uro for the scientific support.Provenance:- Galerie Sapone, Nice- Galerie Gmurzynska, Cologne (adhesive label)- Private collection North Rhine-Westphalia. Explanations to the CatalogueHans Hartung Germany Lyrical Abstraction Post-War Art Post War 1980s Abstract Painting AcrylicHartung, Hans1904 Leipzig - 1989 Antibes"T 1980 - K 9". 1980. Acryl auf Leinwand. 50 x 65cm. Betitelt verso auf Keilrahmen: T 1980 - K 9. Modellrahmen. Diese Arbeit ist im Archiv der Stiftung Hans Hartung und Eva Bergman, Antibes, verzeichnet und wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen. Wir danken der Stiftung und Herrn Jean-Luc Uro für die freundliche wissenschaftliche Unterstützung.Provenienz:- Galerie Sapone, Nizza- Galerie Gmurzynska, Köln (Aufkleber)- Privatsammlung Nordrhein-WestfalenDer vielfach ausgezeichnete deutsch-französische Maler und Graphiker Hans Hartung gehört zu den einflussreichsten Protagonisten der École de Paris. Nach dem Studium in Leipzig, Dresden und München verlässt er 1932 Deutschland, um zunächst in Spanien und dann in Frankreich zu leben.Mit seiner abstrakten, expressiv-gestischen Bildsprache, mit der er scheinbar unkontrollierte schwarze Linienbündel und Farbgebilde auf den Malgrund bringt, die im Bildraum schweben zu scheinen, wird er bald nach Ende des 2. Weltkrieges ein international anerkannter Künstler des Informel. Im südfranzösischen Antibes, wo er sich 1973 niederlässt, findet er zu einer höchst experimentellen Arbeitsweise, die bestimmt ist von Linie und Farbe. So verwendet er in seinem Spätwerk nicht mehr nur den Pinsel für die Gestaltung seiner Licht-und Farbphänomene. Zu seinen Malutensilien gehören nun u.a. auch Kämme, Schaber oder Reisigbesen. Auch selbstgebaute Geräte, mit denen er die Farbe in Manier des Action Paintings auf die immer größer werdenden Leinwände bringt, gehören fortan zu seinem Repertoire.Das hier angebotene Gemälde "T 1980 - K9" aus dem Jahr 1980 ist ein wundervolles und beeindruckendes Beispiel für Hartungs finale und experimentelle Schaffensphase. Expressiv-gestische schwarze Schlieren und zersplitternde Farbpartikel vor blau schwebendem Hintergrund, verleihen dem Gemälde einen schwungvollen Ausdruck. Zu erkennen ist eine klare Abgrenzung zu seinen strengen, poetischen Frühwerken, in denen Hartung vielmehr als Konstrukteur geometrischer Formen aufgetreten ist. Die Formen und Farben erinnern nun an nichts mehr und so werden die schwarzen Strukturen zu flüchtigen Momenten in einem unbestimmten Raum, in dem sich Chaos und Ordnung sowie Spontaneität und Berechnung vereinen. Erläuterungen zum KatalogHans Hartung Deutschland Nouvelle École de Paris Informel Lyrische Abstraktion Nachkriegskunst Unikate 1980er Abstrakt Gemälde Acryl- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premium
Lot 71A
Picasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. White earthenware clay, partly polychromed and glazed. Ø 22.5 x 2.5cm. Inscribed and numbered underneath: K 112, 170/300. As well as stamp: MADOURA PLEIN FEU and EMPREINTE ORIGINALE PICASSO. Number 170/300. Provenance:- Private collection HesseLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, cat.rais.-no. 305, with colour ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Figure / Figures Ceramic Earthenware BullsPicasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. Weißes Steingut, partiell farbig gefasst und glasiert. Ø 22,5 x 2,5cm. Bezeichnet und nummeriert auf der Unterseite: K 112, 170/300. Sowie Stempel: MADOURA PLEIN FEU und EMPREINTE ORIGINALE PICASSO. Ex. 170/300. Provenienz: - Privatsammlung HessenLiteratur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, WVZ-Nr. 305, mit Farbabb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Figur / Figuren Keramik Steingut Stiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Lot 72
Picasso, Pablo1881 Malaga - 1973 MouginsGoat's head in profile. 1950. White earthenware clay, polychromed and partly glazed. 2.5 x diameter 25.5cm. Numbered underneath: 149/200. As well as inscribed: K 113. Above this the stamps : MADOURA PLEIN FEU and EMPREINTE ORIGINALE DE PICASSO. Number 149/200. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, cat.rais.-no. 112, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Animal Object PorcelainPicasso, Pablo1881 Malaga - 1973 MouginsGoat's head in profile. 1950. Weißes Steingut, farbig gefasst und partiell glasiert. 2,5 x Durchmesser 25,5cm. Nummeriert auf der Unterseite: 149/200. Sowie bezeichnet: K 113. Darüber die Stempel: MADOURA PLEIN FEU und EMPREINTE ORIGINALE DE PICASSO. Ex. 149/200. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, WVZ.-Nr. 112, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Tier Objekt Porzellan- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Lot 405
9CT GOLD UNMARKED YELLOW METAL and other jewellery and collectables to include an opal bar brooch, a seed pearl set example, a Victorian memoriam ring marked 'Robert Staniforth, December 28th 1878', size Q, 3.2grms, four 9ct stamped charms and one other including a RAF Wings example, inscribed to the back 'K from Johnny 1940', WVS Civil Defence badge, an Oris Nurse's watch ETC
Lot 198
5th century AD. A bronze steelyard weight filled with lead formed as the upper body of a Byzantine empress with jewelled tiered headdress, earrings, bead necklace, pleated palla or mantle; left hand holding a mappa as symbol of royal authority and right hand raised with two forefingers extended in a gesture of benison; underside with ferrous inclusions, possibly attachment studs for a bottom plate. See Weitzmann, K. (ed.) Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century, New York, 1979, no.328. 4.0 kg, 20cm (8"). From an important collection of Byzantine art, the private collection of a Dutch businessman; previously in a European collection formed before 1980. A very similar weight is held by the Metropolitan Museum of Art, New York under accession number 67.154.1. The choice of the image of the empress for an official weight may have been to display fairness and equality before the law in commercial matters, as well as to bolster the authority of the imperial family. Very fine condition.
Lot 425
9th century AD. A hand-forged iron spearhead of Petersen's Type K with tapering lentoid-section blade, rounded tip, stepped shoulders, narrow socket. See Martens, I. Indigenous and Imported Viking Age Weapons in Norway - a Problem with European Implications, in Journal of Nordic Archaeological Science 14, pp. 125–137 (2004"). 506 grams, 53cm (21"). From the family collection of a South East London collector; formerly acquired in the 1960s. Very fine condition; professionally cleaned, restored and conserved.
Lot 461
Mid-late 14th century AD. An iron longsword of Oakeshott's Type XIIIA. 10 or 13 (Oakeshott, 1991, pp. 105-106), the cross style a variant of 2, pommel type K; a two handed sword showing a round bevelled pommel and a straight guard with square-section quillons; the double-edged blade showing a short marked groove extending for only a third of its length; a cone-shaped roundel is visible between the pommel and the flattened end of the tang; some evidence of fighting, although both sides are well preserved in their complex. See Oakeshott, E. The sword in the Age of the Chivalry, Woodbridge, 1964 (1994); Oakeshott, E. Records of the Medieval Sword, Woodbridge, 1991; Oakeshott, E., Sword in hand, London, 2001; Gilliot, C., Weapons and Armours, Bayeux, 2008. 1.6 kg, 1.11m (43 3/4"). From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed originally from near Dresden, Germany; accompanied by an academic report by military specialist Dr Raffaele D'Amato. This sword, belonging to the type of 'Grand espée d'Allemagne', or sword of war, is similar to a German work recently published by Gilliot (2008, p.122"). It introduces to the typologies of swords used in the two-hand fighting. Swords of such dimensions in fact, may legitimately be considered as two-handed. In numerous inventories, literary references, wills of 13th and 14th centuries, it is clearly described the function and the employment of such swords. The famous chronicles of Froissart, who described the tremendous period of the Hundred Years War (Chronicles of England, France and Spain) gives a vivid and lively (and not absolutely fictional) account of the use of such weapons during the first part of the war, between 1340 AD and the end of the 14th century, so describing a militant churchman, a certain Canon de Robesart, in 1358: ...il tenoit une espée a deux mains, dont il donnoit les horions si grande que nul les osoit attendre.... (he held a sword of two hands, with which he gaves strokes so great that none dared faced them"). The Grete swerd of type XIIIa could be used with two hands, and according to Oakeshott the 14th century twahandswerd was just an extra-large Grete swerd of this typology (Oakeshott, 2001, pp.96 ff."). Also another important document of this period, the Chronicle of Du Guesclin said that ...Olivier Manny le fere tellement d'une espée à ll mains, qui tranchoit roidement (Olivier de Manny struck in such a way with a two-hand sword, which sliced keenly)...' Last but not least the mentions of such swords is clearly reported in the legal documents, acts of will and donatives of the period, like for example the will of Sir John Depedene, which contains in 1402 the mention of 'Unum gladium ornatus cum argento et: J. Twahandswerd', i.e. of a 'one sword decorated with silver and one two hand sword'. The double hand sword is illustrated in famous manuscripts, like the Tenison Psalter of 1284, where a miles (knight) covered by a great helm is brandishing with two hands a sword of type XIIIa (Oakeshott, 2001, p.98"). According to Oakeshott there is a basic distinction between the 'Grete Sword' and the Twahandswerd. When we think about it we have on mind the enormous two-handed swords, distinctively shaped and highly specialised, of XVI century. But they were instead just a variant - maybe determined with a longer grip which made easier the two hands fight - of the usual great German war sword. This statement must be examined in detail. In the literature of the late 13th and early 14th centuries we find many references to these 'espées de guerre', 'Grant espées', 'Grete Swerdes', and so on. In art of the same period we find many portrayals of very large swords of Type XIIIa, and there are a considerable number of survivors. In the late 13th and the 14th finds and literature we find many references to such 'espées de guerre', 'Grant espées', 'Grete Swerdes', and so on. At the same time the art of these two centuries provided the better iconography of them. The references to 'Grete Swerdes' do not, I believe, indicate two-hand swords, for these are always described as such, as 'espées a deux mains'' or 'Twahandswerds', and need not be confused with the sword of war. The two-hander of the 13th-15th centuries was not, as in the 16th, a specialised form of weapon; it was just a larger specimen. Most probably our specimen is coming from a battlefield or, most probably, a river find. The piece is in excellent condition. The swords of type XIII, to which such specimen belongs, have the following characteristics, well resumed by Oakeshott in his work of 1964 (p.91): A broad blade, nearly as wide at the tip as at the hilt. Most examples show a distinct widening immediately below the hilt, thereafter the edges run with an imperceptible taper to a spatulate point. The fuller generally occupies a little more than half of the blade's length. The grip is long in proportion to the blade—average length 6. The tang may be flat and broad, tapering sharply in its upper half towards the pommel, or it may be of a thick rectangular or square section, giving the appearance of being thin and stalk-like when seen in elevation. The pommel may be of any type, though on most surviving specimens Types D, E and I are the most common (the developed late Brazil-nut forms or the so-called 'wheel' form"). The cross is generally straight, though there are a few curved examples. The variant XIIIa, to which our specimen belongs, is generally the same shape as the simple Type XIII, only much larger. The blade, of similar form, is generally from 37 to 40 long, while the grip ranges from 6½ to 9 in length. Fine condition. Rare.
Lot 468
Circa 1270-1330 AD. An iron longsword of Oakeshott's Type XIIIA.10 (Oakeshott, 1991, p.105), cross style 10, pommel style K, comprising a slender triangular blade with deep fuller and acute point, with inlaid copper design to each face of a circle with cross and rings within the quadrants, starbursts above and below; narrow lower guard with flared ends, each quillon showing three round holes near the outer edge; long grip with slight taper, disc pommel with chamfered edges; a nice example of a well employed sword, with the point of the balance down towards the point, ideal for a weapon designed to deal slow, powerful slashing blows. See J Oakeshott, R.E., The Archaeology of the weapons, London, 1960 (Woodbridge, 1999); Oakeshott, E. Records of the Medieval Sword, Woodbridge, 1991; Oakeshott, E., Sword in hand, London, 2001. 1.3 kg, 1.12m (44"). From an important English collection; acquired in the 1990s; accompanied by an academic report by specialist Dr Raffaele D'Amato. This sword belongs to the category which in the Middle Ages, was referred as 'La Grant Espée d’Allemagne', or 'Great sword of Germany', or 'Espée de guerre', 'Grete war sword' and so on (Oakeshott, 2001, p.90"). Other names were applied in different countries but, as said by Oakeshott, it was German in origin, of great size and fashionable in use. It was especially popular between 1250-1360 AD. This circumstance is well attested by the appearance of such swords in contemporary works of art, MS illustrations, sculptures, tomb effigies, especially in Germany and Spain (Oakeshott, 1960 (1999), figs.88-94; 1991, figs.80,82"). Oakeshott classified them like swords of type XIII: these swords are of a very striking and individual shape; some of them are very large - and this is the reason they were called 'swords of war' in the time of their highest popularity, between about 1280 and 1340. These Epées de Guerre were massive weapons, but are not to be confused with two-handed swords. There were a few such, as early as 1350, but they were considerably bigger and were always referred to as Epées a deux Mains or even 'Twanandswerds' (Oakeshott, 1960 (1999), p.207"). The war sword had a blade some 36 to 40 long with a very long hilt, from 6 to 8 between cross and pommel, but it could be wielded in one hand, though provisions were made for using it with both. Most Type XIII swords were large like the current example, but there are several of more ordinary dimensions, though they have hilts. This sword of type XIIIA, destined to the war, is characterised by parallel-edged blade, longer grip (quillons) and rounded point (Oakeshott, 1991, p.96), but the specimens of type 14 show a more pointed tip. The specimens of this type are heavier and very near to the two hand proportions, like the current example. The latter has a nearly perfect parallel with a specimen of unknown provenance, today in the Burrell collection in Glasgow, the blade 92.1cm in length. Most probably this specimen is from a battlefield or, most probably, a river find. The hilt was originally covered with leather, like the specimen of type XIIIa.9, published by Oakeshott and found from Danube (1991, p.104"). The tang is very long, like the untouched specimen belonging to Ottokar of Bohemia (Oakeshott, 1991, p.114), which suggests that it is likely that most of the blades came to the cutler in such way, so that the hilt could be made to a length to suit the customer. It points to swords produced in workshops of the Holy Roman Empire. It is however, very difficult to say where a sword was produced. A place of great blade making and steel workshops was Solingen, a city which has been always been associated with the making of blades, and where now there is a splendid Klingenmuseum, devoted to all the arts of the swords. But in 13th century, there were many other centres of production, although less documented. In the famous chronicle of Froissart, written in the 14th century, there is a constant mention of Bordeaux (doubts arose from Oakeshott, 1991, p.9, if Bordeaux in Gascony or Bordeau in Haute-Savoie) as the place in which the most important and worthy blades (not only swords, but also spears, axes and arrows) were done. Probably most of the European cities, which became worthy for the production of the swords, were producing them as early as the 12th century. (Passau on the Danube, Koln, Milano, Brescia, and perhaps Toledo (but the real evidence for Toledo is only at the end of the 15th century.)) It is interesting to mention the piece of documented evidence already underlined by Oakeshott about the making of the swords in Milan already at the end of the 13th century. In the so-called Chronicon Extravagans de Antiquitatibus Mediolani, a certain Galvano Fiamma, wrote (XVIII,5,6) about Milano that '…Inter alia sunt armature militares: inueniuntur enim in nostro terretorio armorum fabricatores in mirabili copia, qui cottidie fabricant cuiuscumque generis armaturas, scilicet loricas, thoraces, lamerias, galeas, galerias, ceruelleras, collarias, cyrothecas, tybialia, femoralia, genualia, lanceas, pilla, henses, pugiones, clauas. Et sunt omnia ex ferro terso et polito, speculorum claritatem excedentes…' ('Among the other things the military armours: in our territory immense number of workmen are to be found who make every manner of armour, i.e. hauberks, breastplates, plates, helms, helmets, steel skull-caps, gorgets, gauntlets, greaves, cuishes, knee pieces, spears, javelins, swords, daggers, clubs. And they are all of polite and cleaned iron, shining more of the mirrors for his brightness…'"). Fine condition. A nice example of a well used sword.
Lot 562
10th-11th century AD. A silver-gilt pendant with Borre-style beast and integral suspension loop with herringbone detailing; the openwork plaque with three-band pelletted border and scrolled florid panels, opposed internal beasts with granulated panel to the shoulder, gripping hands to the body and border, facing mask below the loop with cruciform brow panel and pellet eyes. Cf. Korshyn, V.E. Yazicheskiye Priveski Drevniye Rusi X-XIV Vekov, Moscow, 2013, items K.2.01-03. 9.7 grams, 36mm (1 1/2"). Property of a private collector; acquired before 1975. Very fine condition.
Lot 563
10th-11th century AD. A silver-gilt pendant with Borre-style beast and integral suspension loop with herringbone detailing; the openwork plaque with three-band pelletted border and four scrolled florid panels, internal stylised zoomorphic beast with hatched panel to the hip, gripping hands to the body and border, facing mask below the loop with textured cruciform brow panel and pellet eyes. Cf. Korshyn, V.E. Yazicheskiye Priveski Drevniye Rusi X-XIV Vekov, Moscow, 2013, items K.2.01-03. 13 grams, 37mm (1 1/2"). Property of a West Yorkshire collector; collected 1978-2008; accompanied by an original Oxford Labs metal analysis report number 00803-2017VJ. Extremely fine condition. An extremely rare and beautiful example.
Lot 600
Late 16th century AD. A slender gold hoop with quatrefoil to each shoulder flanking a bezel with scooped sides, enamel lattice to the underside and niello columns to the sides, inset table-cut diamond. 1.63 grams, 21mm overall, 16.11mm internal diameter (approximate size British K 1/2, USA 5 1/2, Europe 10.58, Japan 10) (3/4"). Property of a Suffolk collector; formerly acquired on the European art market in the 1990s. Accompanied by a scholarly note TL005249 from Dr Ronald Bonewitz. Very fine condition.
Lot 606
Dated 1697 AD. A gold 'memento mori' finger ring with keeled profile, low-relief skull to the outer face, italic inscription to the inner face 'M. Henshaw ob 15 June 97æta 69' and maker's mark 'I·C' (perhaps John Cam of London"). See Jackson, Sir C.J. English Goldsmiths and Their Marks, London, 1921. 2.34 grams, 18.52mm overall, 15.79mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9) (1/2"). Private collection, Cambridgeshire, UK; acquired prior to 2000; previously in an old jewellery collection; by repute from the Moore Hall estate, Old Harlow, Essex. Fair condition.
Lot 74
1st century BC-2nd century AD. A large rectangular mosaic floor panel in original matrix, with castellated bichrome border and inner frame of larger (10mm) tesserae surrounding the central portrait with micro tesserae as small as 2mm; the subject a bust of Summer with foliage wreath to the brow, peplos gown and folded wings, enigmatic legend above '???? ??????', set into a modern frame; supplied in custom-made transport/storage container. See Dunbabin, K. M. D. Mosaics of the Greek and Roman World, Cambridge, 1999. 66.6 kg, mosaic: 119 x 120 cm crate: 129 x 130 cm (50 3/4 x 51"). Property of an important French collector; his collection having been formed since the early 1960s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 142950-10004. Very fine condition.
Lot 77
1st-2nd century AD. A silver rectangular plaque with folded edges and fixing holes, having a parcel-gilt repoussé inscription 'LEG/ XII/ FVL' for Legio duodecima Fulminata, decorated with the embossed thunderbolts of Jupiter, composed from a turtled elongated body, with a central boss, and eight fulgures (lightning) on the sides, holes for fastening through small rivets to its borders. See Wellbeloved, C. ‘Observations on a Roman Inscription, lately discovered in York’ Yorkshire Philosophical Society, Proceedings 1, 1855, pp. 282-286; Home, G. Roman York: The Legionary Headquarters and Colonia of Eboracum; London, 1924; D'Amato, R., Arms and Armour of the Imperial Roman Soldier, London, 2009; Töpfer K. M., Signa Militaria, Die römischen Feldzeichen in der Republik und im Prinzipat, Mainz, 2011; D'Amato R., Roman Standards and standard-bearers, London, 2018. 670 grams, 35.5cm (14"). From the collection of a European lady; formerly in the Franculovic family collection, Vienna, Austria, thence by descent; previously acquired by her father-in-law in Munich, Germany, in the 1970s, directly from the private collection of Marcus Hollersberger; accompanied by a metallurgic analytical report, written by metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, and an academic report by Roman military specialist 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. 141039-10010. Metallic appliqués of the Jupiter lights and thunderbolts (fulgures) were a very common device applied on the Imperial Roman shields, also among the milites Gregarii of a particular legion (D’Amato, 2009, p.107 figs. 6, 28, 58, 59, 106, 111, 112, 121"). The milites of the Legio XII Fulminata were recognized, for instance, with all probability, at least at the beginning, by the thunderbolts embossed on their shields. A very interesting description of it is given by the poet Valerius Flaccus, in his Argonautica: “…all the phalanx wears embossed on the shield the Jupiter device, and the diverged fires of the trident-shaped (trifida) thunderbolts and You, Roman soldier, are not the first to wear on the shields the rays and the shining wings of the flashing thunderbolt… It is clear the reference to a metallic appliqué in gold and silver, which has got a further confirmation in the passage of Vergil where it is described the shield of Aeneas (Vergil, Aen.,VIII, 424-430"). Interestingly, the Romans linked the flamboyant character of the fulmen (thunderbolt) with the phalarica, the flaming spear used by the Iberian warriors, (Verg., Aen., IX, 705-706"). Also the malleolus, i.e. the double wooden hasta, was compared to the bifida fulgur, i.e. the double light of the thunderbolt. The Legio XII Fulminata (the lightening Legion) was created by Caius Julius Caesar in 58 BC and was active until the early 5th century, patrolling at that time the Euphrates Borders with the Sassanian Persian Empire, near Melitene (today Malatya"). Its emblem was the fulgur, which was widely used on the objects and the pertinences of the Legio. During the first two centuries of the Christian Era the Legio was located in Syria, Cappadocia and Armenia, and participated to the Jewish war between 66 and 70 AD, to be sent after the suppression of the revolt on the Euphrates Border. Cappadocia and Armenia were the main places of staying of the Legio, except for the period of the Marcomannic Wars (167-189 AD), when it operated on the Danube against the Germans. Metallic plates with the name and the symbol of the legio engraved were widely employed in legionary camps, for different uses. The length of the plate (about 35 cm) could be compared with that of the silver plate of the signum (standard) of the COHORS VII RAETORUM, from the military camp of Niederbieber, preserved only for a half and measuring 16,2 cm (Toepfer, 2011, pp.419-420, cat.AR1.3; D’Amato, 2018, p.30"). This plate was originally long about 30 cm. We cannot indeed exclude the possibility that our tabula originally was an application of a military standard. In such case the tabula acted as a label reporting the name of the Legion, and was combined with other decorations of the standard, like tassels, lunulae, phalerae in shape of a patera. Another more simple possibility is that the plate was originally attached on the back of a chariot, fastened to a wooden surface by the small rivets today lost. Again, the plaque could have been exposed in some camp of the XII as signal of pertinences or buildings. Although, without a precise context, it is impossible to understand the original use of the tabula, its dating is easier. The type of letters find correspondence with the inscriptions of the early second century AD, for instance with the very famous stone inscription of the VIIII Legio from York dated 108 AD (Empire of Trajan), on display in the Yorkshire Museum (CIL,VII,241"). Another element of comparison can be the Latin two parts inscription dedicated by the X Legio Fretensis in honour of Hadrian, dated 130 AD, from Jerusalem, adorning a monumental arch dedicated to Hadrian by the 10th Legion stationed in Jerusalem during his visit at Aelia Capitolina in the same year. The comparing of the letters LEG and of the numeral X does not leave doubt on the age of our plaque. If the plate belongs to the early second century, the provenance can be speculated from the Armenian or Cappadocian camps of the legion, which participated at the war of Trajan against the Parthians in 111 AD. Very fine condition, one corner absent and sides worn.
Lot 180
11 boxed Matchbox models including; MG-1 Matchbox Garage, Matchbox Series Accessory Packs 1 & 3, Models Of Yesteryear, 1, 2, 3, 4, 6, 15, Matchbox King Size K-1 and K-6, all models are G/G+ some with paint chipping and decals have been removed. Box conditions vary from P-G+, some with missing tabs, end flaps, detached flaps etc (11).
Lot 187
A boxed Dinky Toys 917 Mercedes Benz Truck and Trailer, overall G but missing plastic canopies, on G plinth in F outer box together with two boxed Matchbox models from the 'Battle Kings' range - K101 and K104, both appear G+/VG boxed. An unboxed Matchbox K-7 Racing Car Transporter 'Team Matchbox' in yellow, complete with Racing Car model, is also included as part of this lot. (4)
Lot 136
A FRACTURE FILLED SINGLE STONE DIAMOND RING, designed as a single brilliant cut diamond within a four claw setting to the plain polished band, estimated diamond weight 1ct, clarity assessed with treatment as I2-I3, colour assessed as G-H, stamped 14ct, ring size K, approximate weight 4.8 grams
Lot 35
TWO THREE STONE DIAMOND RINGS, the first designed as three single cut diamonds within illusion settings, estimated total diamond weight 0.06ct, stamped 18ct Plat, ring size K, the second designed as a spaced line of three brilliant cut diamonds, estimated total diamond weight 0.09ct, with 9ct hallmark, ring size K1/2, approximate total weight 4 grams
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