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Click here to subscribe13th-14th century AD. A gold D-section hoop with ribbed shoulders, oval cup bezel with inset light blue sapphire. Property of a Cambridgeshire, UK, gentleman; acquired on the UK art market in the 1980s. 1.88 grams, 24.48mm overall, 18.43mm internal diameter (approximate size British Q, USA 8, Europe 17.49, Japan 16) (1"). Very fine condition.
Pleistocene Era, 40000-20000 BP. A magnificently large and heavy complete bull woolly mammoth Elephas primigenius tusk, having a dramatic twisting curve along the length and showing light wear to the tip. See Guide to the Elephants (Recent and Fossil) in the British Museum (Natural History), BM, 1922, pp.35-47 for discussion. 34 kg, 236cm along the curve (93"). From a private European palaeontological collection; formerly in a Spanish collection; previously from a collection formed in Arizona, USA. Fine condition; professionally conserved and restored. Very rare.
Pleistocene Era, 40000-20000 BP. A complete female woolly mammoth Elephas primigenius tusk having a dramatic curve along the length and showing light wear and small chip to the tip. See Guide to the Elephants (Recent and Fossil) in the British Museum (Natural History), BM, 1922, pp.35-47 for discussion. 8.20 kg, 148cm along the curve (58"). From a private European palaeontological collection; formerly in a Spanish collection; previously from a collection formed in Arizona, USA. Fine condition; professionally conserved and restored. Rare.
Mid 11th-mid 12th century AD. A Western Middle Age double-edged iron sword, from Central Europe, of Petersen type X-Oakeshott type Xa, with tapered pattern-welded blade and narrow fullers, parallel-sided lower guard, long tang and 'tea-cosy' or mushroom-shaped pommel of B1 type; the pommel is in excellent state of preservation with some small areas of light pitting; the hilt is plain, widening towards the lower guard; the crossguard (Oakeshott style 1) is formed from a tapering bar of iron, crudely pierced to take the robust tang; the blade with inlaid S inside a circle; battle nicks to both sides, the blade showing signs of corrosion to the cutting edges; the tip of the blade absent. See Petersen, J., De Norske Vikingsverd, Oslo, 1919; Oakeshott, E.,The archaeology of weapons, arms and armour from the Prehistory to the Age of Chivalry, Woodbridge, 1960 (1999); Geibig A., Beiträge zur morphologischen Entwicklung des Schwertes im Mittelalter, Neumünster 1991; Aleksi?, M., Mediaeval Swords from Southeastern Europe, materials from 12th to 15th century, Beograd, 2007; a splendid example of this type in the Museum of Archaeology at Cambridge, its maker's name was Constaininus, which is inlaid in the bold straggling letters of the Viking Age, with the religious invocation similarly inlaid on the reverse (Oakeshott, 1960 (1999), p.204); the recent work of Dr. Aleksi? on the swords found in the territories of Southeastern Europe has put some light on the presence of such category of sword also found in the Balkans: a parallel with our sword is a specimen found in the river Sava near Bosanska Gradiška, northern Bosnia, today in the National Museum Bosnia and Herzegovina (inv. nr.6894), dated to the 11th century (Aleksi?, 2007, pl.9.1, cat.297); Aleksi?, who used the Oakeshott classification, noted as among the earlier specimens of swords of type X in the Eastern Europe prevailed the Type A pommels (Aleksi?, 2007, cat. nos. 55, 56, 297, 298, 349) in comparison to the Type B (Aleksi?, 2007, cat. nos.61, 299, 346) but among the later swords were much more frequent those with Type B pommels (Aleksi?, 2007, cat. nos.67, 84, 96, 131, 135, 182, 183, 228, 229, Pl. 13:1, 287, 295, 350, 346) in comparison to the type A (Aleksi?, 2007, cat. nos.16, pl.1:1 81?, 147, 288, 342, pl.11:1, 344?"). 631 grams, 76cm (30").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.The sword's inlay allows the possibility to date it to the later period of the employment of this typology. The presence of inscriptions or symbols, like the letter S for SANCTVS (Saint), shows the definitive passage to the Christianity of the signs incised on the main chivalry weapon, the sword (gladius"). The work of Dr. Aleksi? points out a very important element, ie. the possibility that such swords were also produced in centres of the Eastern Europe. Moreover, in the territories of Balkans, there are specimens of type X with different pommels from those that are typical. For instance a sword from Slovakia (Aleksi?, 2007, cat.55) shows a blade of type X, and a pommel of type A. The inscription on this blade (INGEL(RII)) is the same as on two swords from Bosnia (the mentioned one, and a second one in Aleksi?, 2007, pl.9.2, cat.298"). All these swords, despite having considerably longer cross-guard should all be dated to the 11th century. The practice of mounting later pommels and cross-guards on the earlier blades could confuse in some cases when dating of such finds is concerned as it is the case, for instance, with the sword found in the Murtensee lake, near the mouth of river Broye, around twenty kilometers to the southwest of Bern (Aleksi?, 2007, Fig.20"). It has the blade of Type X and short hilt and cross-guard but also the pommel of Type Na (Aleksi?, 2007, p.23 and fig.1), which is at least a century later. The confusion in dating is also supported by other details, like the length or the width of the fullers. There are slender specimens, classified as type XIII from Geibig, with blades so conspicuously tapering towards the point that they would better correspond to the Oakeshott Type Xa. Usually, in such blades, the fuller is relatively long, around three quarters of the blade length and moderately wide (1.2-1.4cm").Fine condition.
Pleistocene Era, 40000-20000 BP. A large and complete female woolly mammoth Elephas primigenius tusk having a dramatic curve along the length and showing light wear to the tip. See Guide to the Elephants (Recent and Fossil) in the British Museum (Natural History), BM, 1922, pp.35-47 for discussion. 6.90 kg, 191cm along the curve (75"). From a private European palaeontological collection; formerly in a Spanish collection; previously from a collection formed in Arizona, USA. Fine condition; professionally conserved and restored. Rare.
Pleistocene Era, 40000-20000 BP. A large and complete adult woolly mammoth Elephas primigenius tusk having a dramatic curve along the length and showing light wear to the tip. See Guide to the Elephants (Recent and Fossil) in the British Museum (Natural History), BM, 1922, pp.35-47 for discussion. 14.60 kg, 156cm along the curve (61 1/2"). From a private European palaeontological collection; formerly in a Spanish collection; previously from a collection formed in Arizona, USA. Fine condition; professionally conserved and restored. Rare.
Mid 10th-mid 11th century AD. An elegant, finely tapering blade with well-formed fullers, running down to within 23cm of the point, the cutting edges in good condition bearing much evidence of use, long (almost 20cm) narrow cross of the type known by the Vikings as gaddhjnlf or spike-hilt, stout tang, tapering and terminating with a beautifully preserved walnut style pommel. See a parallel sword in Peirce, I., Swords of the Viking Age, Suffolk, 2002, p.131 (Paris, Musée de l'Armée, inventory JPO 2241); D'Amato R., Spasi? Duri? D., The Phrygian helmet in Byzantium: archaeology and iconography in the light of the recent finds from Branicevo, in Acta Militaria Mediaevalia, tom XIV, 2018, pp.29-68. 742 grams, 95cm (37 1/2").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent.This one-handed sword shows the same walnut pommel of the swords visible on the lost miniatures of the Hortus Deliciarum (D'Amato-Spasi? Duri?, 2018, p.53), a German manuscript of the second quarter of 12th century. The straight guard with thick straight quillons are typical of the style Xa of Oakeshott, a kind of sword that, with its double-edged blade, combined the cutting and the cut-and-thrust styles. The fullers, like in this case, are very marked and form not less than two thirds of the length.Fair condition.
Late Period, 664-332 BC. A light green glazed composition amuletic pendant depicting the standing sacred triad of Isis with throne headdress, Harpokrates with sidelock of youth, and Nephthys wearing a headdress with hieroglyphic name featuring house and basket. 44.5 grams, 64mm (2 1/2"). Property of a London lady; from her family collection formed in the 1970s. Very fine condition.
16th-17th century AD. A war hammer or Nazdiak of Polish origin, the head composed of two pieces; the twisted shaft made of solid iron, and the head, made of one single piece, shaped like a hammer from one side and a pointed spike or dagger from the other side; the dagger showing a strong quadrangular outline, fixed to the shaft with an upper insertion hole and then rivetted, with the help of an auxiliary iron cap; its spike of a 'raven beak' shape of quadrangular section, while the hammer is flat at the top; the shaft is particularly twisted, and ends, in the lower part, with a short handle. See Йотов В, Въоръжението и снаряжението от българското средновековие (VII-XI век), Варна, 2004; Brzezinski, R., Polish Armies 1569-1696 (1), London, 1987; Gilliot, C., Armes & Armures/Weapons & Armours, Bayeux, 2008. 2.1 kg, 60cm (23 1/2").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.The war hammer was a bulky weapon. The wider use of hammers, especially among riders, began in the 13th century, with the spread of armour, although traces of war hammers could already be found in 10th century Byzantium, with the weapon called akouphion (Yotov, 2004, pp.106-107"). At the beginning it was made of a lead cylinder, extremely heavy with a handle (Gilliot, 2008, p.150"). In the late Middle Ages (XIV-XVI centuries), with the introduction of a new means of defence - the plate armour, against which swords, axes, maces and other melee weapons were less effective, various types of war hammers became widely used. The old cylindrical plommée (lead cylindrical hammer) were replaced in the early 15th century, by the more solid and light iron hammer. This was a lighter weapon, not exceeding 2.5 kg, the knob of which was a hammer itself or had a hammer on one side and a beak on the other, that is, a facetted spike or a massive blade of different lengths, a straight or slightly curved blade. The name hammer comes from one of the elements of the warhead, even if the a real hammer itself may not be on it. Because of their appearance, hammerheads with beaks were often known by bird-related names, such as ‘black beak’ in Spain, ‘crow’s beak’ or ‘eagle’s beak’ in France, ‘falcon beak’ in Italy and ‘parrot beak’ in Germany and Poland. The bec de courbin' had a particular pointy beak aimed at delivering strong thrusts. Often there was also a point pointing upwards and additional short spikes, directly inserted on the impact surface of the hammer or sideways. The beak was capable of breaking chain mail or breaking through plate armour. With a hammer, the enemy could be stunned and his armour deformed. Beaks could also be used to capture the enemy, primarily pulling the rider off of his horse. But for this, hammers having long shafts were better suited. In this case the bec de courbin took up a long handle in the middle 15th century and was called, because of its primary use by the Swiss infantry, 'Lucerne Hammer'. Compared to the mace and the axe attached to the saddlebow (arcione), the war hammer originated several variants which, to date, make it rather difficult to discriminate its archetypal form. The weapon presented here had in fact, enormous similarities with the horseman's pick, only in some of its regional variants well distinguishable from the war hammer (eg. the Polish nazdiak,) often called a raven-headed hammer of the type here represented. It has good parallels with Polish originals of 16th-17th centuries in the Wojska Polskiego Museum (Polish Army Museum), Warsaw, and illustrated in contemporary documents (Brzezinski, 1987, p.41"). Most probably this specimen is from a battlefield or a castle as it is in excellent condition. The horseman's pick has remarkable similarities with the war hammer, so that some variants of the two weapons are almost identical. In the Germanic areas, both weapons are identified as hammer ('hammer' in German language): reiterhammer ('knight's hammer') the horseman's pick and kriegshammer ('war hammer') the war hammer. The distinguishing element is the shape of the hammer head. Weapon apt to injure by blow, the proper war hammer had often a serrated and massive head. The hybrid forms (eg. Polish czekan,) similar to the peak of arms, instead present a hammerhead reduced to a mere counterweight for the long metallic 'beak' that protrudes on the other side of the head, destined to pierce the armor or the opponent's helmet. However, by comparing a Polish nazdiak with a French or Italian war hammer, fundamental differences stand out. There where the western war hammer (like the heaviest Italian mazzaapicchio) which is able to strike both with the head of the hammer, often toothed, and with the curved tip; the horseman's pick striking mainly with the pointed peak, while the hammerhead was reduced to a mere counterweight. Another distinctive feature of the Polish nazdiak is it being made entirely of metal, like the Italian war mace, and it being longer than the war hammer. Eloquent in regard to its efficiency, is the witness of the account of Abbot J?drzej Kitowicz, who lived at the time of August III of Poland (1696-1763): '[The nazdiak] is a terrible instrument in the hands of the Poles, especially if they are in a warrior or altered mood. With the sabres you can cut off someone's hand, tear his face and injure him in the head and the sight of the blood that flows from the enemy can thus calm the resentment. But with the nazdiak you could cause a fatal injury without seeing the blood and, not seeing its, calm down, instead ending up hitting several times without cutting the skin but breaking bones and vertebrae. The nobles with clubs often beat their servants to death. Because of the danger it posed, they were forbidden to be armed during large assemblies or parliamentary sessions. [...] And in truth, it was a brigand's instrument, because if you hit someone with the pointed beak of the nadziak behind the ear, you kill it instantly, the temple pierced by the deadly iron. '(Jędrzej Kitowicz, Opis obyczajów za panowania Augusta III)'.Fine condition. Very rare.
Circa 1430 AD. A parchment leaf from a Book of Hours from Rouen, Normandy, with block of blackletter text to each face; gold leaf detailing to the versals, text and finely executed broad foliage with acanthus-leaf sprays and fruit in red, light and dark green, blue, black and gold. 3.9 grams, 16.2 x 11.5cm (6 1/4 x 4 1/2"). Ex North London gentleman; formerly with Sothebys, London, UK, lot 99, 5th July 2005; accompanied by an old collector's cataloguing and acquisition sheet (£595"). Extremely fine condition.
A suite of four large contemporary light metal framed hanging ceiling lights/plafonnier, with loose mottled glass shades, hung from simulated tassel supports, the framework with repeating flower head and ring design, together with a matching framework/cradle and a similar hanging ceiling light with bell shaped shade (6)
John Barrow CHARTE DER SÜDSPIZE VON AFRICA ODER DES HOTTENTOTTEN UND CAPLANDS Prague, 1811 Copperplate, hand coloured, 1,8cm wide white stripe along centerfold, 1,5cm oily spot in corner, light tanning across map with darker line along window frame edge, pencil note in margin; verso: map secured to window mount with masking tape at top and sides, paper strip along centerfold, original fold lines visible in lighter tone, foxing with heavier foxing and tanning in margins, ink and pencil notes on back and a circle in light ink, framed40 by 29cm
Johann Nepomuk Diewald & Christoph Fembo (ed) AFRICA Nuremberg, 1821 Copperplate, hand coloured, light foxing with a few darker spots, 1,5 cm oily spot in lower right corner, pencil note in margin, light toning with tanning behind window mount; verso: map secured to window mount with masking tape at top and part sides, two pencil numbers, paint show through, paper strip along centerfold, framed50,5 by 45,5cm
Nelson Mandela THE ILLUSTRATED LONG WALK TO FREEDOM Boston: Little Brown and Company, 1996 SIGNED, LIMITED EDITION, numbered 390 of 425, 4to, quarter bound in Wassa goatskin, solander case, some foxing on spine and light scuff mark on spine from blue ribbon in case, foxing on case, laid down portrait of Mandela signed and dated 6.10.96
Jacques Nicolas Bellin COSTE OCCIDENTALE D’AFRIQUE Paris, 1757 Copperplate, hand coloured, ‘Afrique Occidentale No. 3’ in upper right corner, bottom right ‘Tome 3 in 80. Page 307’, bottom left ‘Tome I in 40. No. 16’, 1,5 cm oily spot in lower right corner, light toning with tanning behind window mount; verso: map secured to window mount with masking tape at top and part sides, 1cm closed tear perpendicular to centerfold repaired with masking tape, tanning behind window mount, pencil note in margin, white paper tape on centerfold, evenly tanned with some white foxing, framed 26,5 by 24,5cmLITERATURENorwich #321
Guillaume De L’isle CARTE DU CONGO ET DU PAYS DES CAFRES Amsterdam: Chez Jean Covens et Corneille Mortier, 1730 Copperplate, hand coloured, top corners deteriorated but mostly outside of plate line, year in pencil, tanned stripe in top and bottom margin, top and bottom of centerfold with 1cm opening, damp marks in outer right margin, light intermittent foxing; verso: ‘93’ in ink, year in pencil and ink, light paint show through60,5 by 47,5cmLITERATURETooley p.72
Johann Matthias Christoph Reinecke CHARTE DER SÜDSPITZE AFRICA’S UND DER COLONIE VOM VORGEBIRGE DER GUTEN HOFFNUNG Weimar, 1804 Copperplate, hand coloured, light foxing with some darker spots; verso: map secured to window mount with masking tape at top and part sides, pencilled number on edge, some paint show through, framed59 by 39cm
Johann Baptist Homaan TOTIUS AFRICAE NOVA REPRAESENTATIO QUA PRAETER DIVERSON IN EA STATUS ET REGIONES, ETIAM ORIGO NILI Nuremberg, [1715] Copperplate, hand coloured, foxing, some wrinkling along centerfold; verso: foxing, pencil notes, map secured to window mount with masking tape at top and part sides, paper tape in 4cm high T-shape to repair bottom of centerfold, tear in margin repaired with tape, small stamp, light paint show through, framed58 by 49cmLITERATURENorwich #72
Gustav Klimt (Austrian 1862-1918) PORTRATSKIZZE: DAME MIT BOA signed in the plate collotype 49 by 32cm PORTRÄTSKIZZE: DAME MIT BOA – GUSTAV KLIMT Klimt was an Austrian symbolist painter and a prominent member of the Vienna Art Nouveau, known as the Seccession Movement. Gustav Klimt’s Porträtskizze: Dame mit Boa translates directly to Portrait Sketch: Woman with Boa, but is also known as Woman in a Boa, Lady Wearing a Boa or simply Woman with Boa. Klimt is known for his representation of women and in Porträtskizze: Dame mit Boa the artist indicates an acknowledgement of the sitter’s femininity with delicate lines. Her hair is piled atop her head in undulating waves and the intricacy of her hairstyle described with a number of parallel pencil strokes. Klimt’s appreciation of his model can be found in her carefully constructed demure gaze, highlighted by her soft eyelashes. The artist shows great restraint in the boa itself, which is constructed from a number of quick, confident marks outlining the abundance of feathers which envelop the young lady, choosing rather to concentrate all of the detail in the sitter’s face and hair. The soft lines indicating the plush material seem to tickle the model’s face pointing to a light eroticism of the female form which is often far more pronounced in Klimt’s oeuvre. The lightest touch of pink emphasises the lips and cheeks ascribing a gentle femininity.This delicate work is a collotype from the suite Fünfundzwanzig Handzeichnungen, a limited collection of twenty-five monochrome and two-colour collotypes after hand drawings by Gustav Klimt. They were published by Gilhofer and Ransechburg in Vienna in 1919, just one year after Klimt’s death. This particular work is plate 5 from the 25 plates in the suite, from an edition of 500 prints. The print includes Klimt’s signature, signed in the lower right of the plate. The original pencil sketch is included in the Lederer Collection in Vienna, along with other original drawings from the suite. The collotype printing process is based on a French discovery patented in 1855 but was used widely by the 1870s. Collotypes were only suitable for short term runs as the plate would print only a few hundred impressions, the process itself proved slower than other printing processes but produced very finely detailed prints. During the process, sensitised gelatin was exposed to light which caused it to harden and become non-absorbent, whereas unexposed portions remained soft and receptive to water. The gelatin then became available as a printing surface. After a thin layer of light-sensitive gelatin had been coated to a glass or metal base, it was left to dry out. The surface of the gelatin then puckered into a network of extremely fine curving cracks. After exposure to light these cracks hardened, enabling them to receive the printer’s ink which was then transmitted to the paper. So it was the gelatin involved in the process that made collotypes the first natural light-sensitive tonal printing surface and allowed for a great delicacy of the final process. The subtlety in tone achieved by collotypes made it an ideal medium for the reproduction of drawings, as seen in Porträtskizze: Dame mit Boa - S.D.Portrait Sketch: Woman with Boa, accessed 8 January, 2020: https://wallector.com/en/modern-art/portrait-sketchwoman-with-boa-100355.html Bamber Gascoigne., How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet, Thames & Hudson, London.1986
Henry Teesdale AFRICA London, [1831] Copperplate, uncoloured, ‘33’ top and bottom right, pencil notes in central southern Africa, thin tan line corresponding to mounting window edge; verso: map secured to window mount with masking tape at top, centerfold ends, one bottom cornerand middle; remains of paper tape covering centerfold, ink number in bottom left corner, light paint show through, framed33,5 by 41cmLITERATURENorwich #133
Rigobert Bonne CARTE DU CANAL DE MOSAMBIQUE, CONTENANT L’ISLE DE MADAGASCAR AVEC LES CÔTES D’AFRIQUE, DEPUIS LE CAP DE BONNE ESPÉRANCE JUSQU À MELINDE Geneva, [1780] Copperplate, hand coloured, ‘Livre I, II, III, IV.’, ‘Andre sculp.’ bottom right, top right hand corner ‘No. 11’, 2,5cm wide tanned strip along centerfold, top left hand corner; verso: two parallel tears from top either side of centerfold repaired with 5cm tape, light tanning with white foxing, yellowed cellotape used to secure map to window mount, framed32 by 21,5cmLITERATURENorwich #173
A FIRST WORLD WAR BRITISH ARMY WOODEN GAS RATTLE, W.B. LTD, 1918 The iron mounted wooden mechanism on a faceted wooden handle28cm longThese rattles were used to warn soldiers of inbound gas. They were light, easy to carry and of a simple design. The loud clicking sound was more effective than church bells and air horns.
Homann Erben [Homann Heirs] ABBILDLICHE GESCHICHTE DER AUSLÄNDISCHEN LAND THIERE I. BLAT, DARINNEN DIE ELEPHANTEN NACH IHREN FÜRNEHMSTEN VERRICHTUNGEN Nuremberg, 1746 Copperplate, hand coloured, some foxing and tanning; verso: map secured to window mount with masking tape at top and part sides, tanned, pencil notes, light paint show through, 1,5cm oily spot in lower left corner, some marks, framed57,5 by 49cmOne of three pedagogical broadsides of terrestrial animals by the German engravers and publishers Homann, the heirs of the famous Nuremberg cartographer Johann Baptist Homann (1664 - 1724). These broadsides were one of the first attempts to introduce accurate scientific depictions of ‘exotic’ animals to a Central Europeanaudience. - L.R.Nissen, C, Die Zoologische Buchillustration Ihre Bibliograhie und Geschichte Band I: Bibliographie, Stuttgard: Hierseman, 1974
Guillaume De L’isle CARTE D'AFRIQUE Paris, 1805 Copperplate, hand coloured, light foxing, glued to window mount mostly outside plate line; verso: pencil number, outer edge tanned, remains of original glue along centerfold, vertical indent line runs parallel to centerfold, light paint show through, framed 61,5 by 48cmLITERATURETooley p.71
A vintage gilt brass German rotating ball anniversary torsion clock, together with another of similar design. Condition Report: Overall condition good, several small chips to base of glass dome on small clock, (untested). Small clock dial with Roman numerals: overall condition good, no sign of any visible cracks, some light marks to surface.
A 19th century Buckinghamshire Light Infantry 1892 Officers dress sword and scabbard. Condition Report: Buckinghamshire regimental badge to handle (see image). Makes name marked as Rob Mole & Sons, Makers (indistinct). Several dents to both side of the scabbard, slightly out of shape. Blade has slight bend, grip decoration largely intact, pommel secure. some signs of rust and wear to both sword and scabbard (see images). Scabbard = 87.5cm. Sword = 97cm. Blade only = 83cm.
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