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Lot 17
"LOLÓ SOLDEVILLA"; Dolores Soldevilla Nieto (Pinar del Río, Cuba 1901-Havana, 1971).Untitled, 1954.Iron sculpture with mobile elements.Attached certificate of authenticity issued by Doña Martha Flora Carranza, heiress of the artist.Measurements: 56 x 26 x 15 m.Iron sculpture with a structure based on strict geometry, with which the artist plays by introducing mobile elements, which give dynamism to the rigidity of the forms and the qualities of the material used. Apart from her well-known career as a painter, Lolo Soldevilla explored other fields such as sculpture. In fact, in 1949 she decided to study sculpture at the Grande Chaumièr Academy in Paris. In this particular case, her work reflects the aesthetic trends of the time, influenced by geometric abstraction.Loló Soldevilla is considered one of the most important figures of Geometric Abstraction and Kineticism, both for her achievements during her career and for her efforts to promote Cuban art within and beyond the borders of her country. He always showed a political involvement through his art, both in his country and abroad, taking an active part in the aid campaigns for the Spanish Republic after the outbreak of the Civil War. His artistic career was always marked by experimentation, not only stylistically but also technically, and he produced works in different media such as sculpture, engraving and drawing. His artistic career began in 1948, influenced by his friendship with Wifredo Lam, who encouraged and supported him in his beginnings in the world of painting. In 1949 he settled in Paris, where he studied at the Académie Grande Chaumière, making frequent trips and exhibitions in Cuba to show his work. In 1951 she joined the workshop of Dewasne and Pillet, where she stayed for two years, and attended a course on printmaking techniques by Hayter and Cochet, maintaining and encouraging creative exchanges with the School of Paris. Linked to the 26th of July Movement, she was forced to live a clandestine life, since during the pre-revolutionary period she collaborated in Diario de la Marina, Carteles, Información, El País, Avance, Porvenir, Tiempo en Cuba and Survey, as well as in the Parisian publications Combat and Arts. After the revolutionary triumph of 1959 she joined the newspaper Revolución as an editor and during the academic year 1960-61 she established herself as a professor of plastic arts at the School of Architecture of the University of Havana. From then on, Dolores Soldevilla combined her artistic career with her teaching work at the University's School of Architecture and at the newspaper Granma. Thanks to her aesthetic approaches, the Grupo Espacio emerged and she was a member of the group Diez Pintores Concretos; she was a member of the UPEC and the UNEAC and collaborated with Bohemia. During his lifetime his work was exhibited in important artistic spaces such as the Palacio de Bellas Artes in Cuba, in Caracas (Venezuela), Paris, Valencia, Valladolid (Spain), Czechoslovakia, etc., achieving great recognition of his work at a global level. Today his work is kept in numerous private collections all over the world and in institutions such as the Museo Nacional de Bellas Artes de Cuba (where the main collection is kept).
Lot 2
CHEMA MADOZ (Madrid, 1958)"I".Photograph, copy 2/15.With Joan Prats Gallery stamp on the back.Provenance: Important Spanish Collection.Measurements: 57 x 47 cm.The way he interprets art through photography and his poetic vision make Chema Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths, there is always an undercurrent of play. Playing in the everyday, generating associations, metamorphoses, in a playful background he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.
Lot 86
SOLEDAD FERNÁNDEZ (Madrid, 1949)."Sea in the background".Oil on canvas.Work reproduced in SOLEDAD FERNANDEZ, EDICIONES SAMMER, 2007.The piece encloses the book with the reproduced work.Signed in the lower right corner.Size: 146 x 114 cm; 176 x 143 cm (frame).Through a realistic aesthetic, the artist configures a symbolic image in which lyricism plays a leading role. The piece draws from sources such as surrealism, allowing us to glimpse a certain approach to the work of Duchamp, where the spectator approaches the piece in a veiled way, like a voyeur contemplating a scene that has not required his or her participation.This painter from Madrid is considered by critics to be one of the best realist painters of the moment, one of her favourite themes being the human body, especially the female nude, always wrapped in paper or cloth, which gives the work a certain magic and mystery. Art critics such as Santiago Amón, Francisco Prados de la Plaza, Francoise Tempra, José Pérez Guerra, José Pérez Guerra, Carlos García Osuna, Santos Torroella, Javier Rubio, Mario Antolín, M. L. Camboy, Tomás Paredes, Antonio Morales, Julia Sáenz-Angulo, Rafael Perelló-Paradelo, Agustín Romo, J. Marcaro Pasarius, Héctor López, Ángel Azpeitia, Antonio Lisboa and David Amor, among others.in 1949 he moved to Collado Villalba (Madrid), where he currently lives. In 1960, and for seven years, she studied in the studio of the Sevillian School painter José Gutiérrez Valle. She is, therefore, a "workshop" painter. Later she continued drawing at the Circulo de Bellas Artes in Madrid and attended several contemporary art competitions. In the 80's she visits and studies art in Paris, London, Rome and Venice, each day going deeper into the techniques she had already learnt in Madrid. After several exhibitions of lesser importance, in 1987 he exhibited in London at the Sammer Gallery and later in Madrid, El Escorial, Barcelona, Palma de Mallorca, Zaragoza, etc. He also attended national and international fairs such as Washington (USA), Chicago (USA), Santander (Spain), Valencia (Spain), Miami (USA), etc. In 1987 he was awarded the first prize for foreign painting (ex aequo) at the XXIX International Competition "Grolla d'Oro de Treviso", Venice, and in 1989 he won the first prize at the VI Durán Painting Prize Competition. His works can be seen in the following museums: Musée Quentovic (Le Touquet, France), National Museum of Fine Arts (Valletta, Malta), Cathedral Museum (Medina, Malta), Museo Bayo (Puerto de Santa María, Cádiz - Spain), Museo de la Real Academia de Bellas Artes de San Fernando (Madrid, Spain) and Museo de Dibujo "Castillo de Larrés" (Huesca, Spain).
Lot 31
Jamini Roy (Indian, 1887-1972)Untitled (Jesus with Mary & Magdalene) initials lower rightoil on paper44.6 x 34.1cm (17 9/16 x 13 7/16in).Footnotes:ProvenanceGifted to Professor Ahmed Ali by the artist in 1947-48 before Ahmed Ali left for the National University in China as the British Council's visiting professor; Inherited from the above by the vendor.FOR THE FRONT PAGE OF THIS COLLECTION The Collection of Orooj Ahmed Ali Orooj Ahmed Ali, is a collector, dealer, consultant, curator and promoter of art, both locally and abroad. Featured twice in Nigaah magazine, first in 2012 as an art collector and then in 2016 as one of the 50 Most influential people in Pakistani Art, it is unsurprising to learn that he has been immersed in the world of art since his childhood. His mother, Bilquis Jehan Begum (1926-1985) was a musician, writer, and artist, who painted figures, abstract, and surreal subjects, in a vibrant and Impressionist style whilst his father, Professor Ahmed Ali, was a novelist, poet, critic, and diplomat, who was deeply involved in the cultural scene of pre and post partition India and Pakistan, and befriended writers and artists, including, E. M. Forster, Virginia Woolf, George Orwell, Edward Thomson, from the Bloomsbury Group, Han Su Yin, Jamini Roy and Zainul Abedin. Sadequain had great regard for him; and Qi Bai Shi, the Chinese master painter, also knew him during his second stay in China (1950-52).Despite being surrounded by antiques and antiquities, it was only in 2004 that Orooj began to collect and deal in art professionally, having spent the early part of his life working as an exporter and manufacturer of terry fabrics, and representing Pakistan at the Frankfurt Book Fair in 1987 and 1990 as a literary agent and publisher. Since then, he has successfully helped clients sell their collections, which included works by artists such as Sadequain, Shakir Ali, Zubeda Agha, Bashir Mirza, Ahmed Parvez, Gulgee, Anna Molka, Jamil Naqsh, Hamidur Rehman, and S M Sultan, to name but a few. The works being offered from Orooj's collection include works by some of Pakistan's, India's, and Bangladesh's finest artists, and Bonhams is honoured to have this opportunity to present them. AHMED ALI (1st July 1910-14th January 1994)Novelist, poet, critic, diplomat, distinguished scholar and co-founder of the All India Progressive Writers' Movement, Ahmed Ali was born in Delhi in 1910. A pioneer of the modern Urdu short story, some of his notable works include: Angarey (Embers), 1932 Hamari Gali (Our Lane), 1940; Qaid Khana (The Prison House), 1942; and Maut Se Pehle (Before Death), 1945. Equally accomplished in English, he achieved international fame with his first English novel, Twilight in Delhi, published by the Hogarth Press, London, 1940, which describes the decline of the Muslim aristocracy with the advance of British colonialism in the early 20th century. He was educated at the universities of Aligarh and Lucknow and later taught at both, amongst other universities, including Presidency College, Calcutta, where he was the Head of the English department between 1932-1947. Between 1942-1945 he was also the BBC's representative and Director Listener Research in India, and was later appointed by the British Government of India as the British Council's Visiting Professor of English to the National Central University of China, Nanking (now Nanjing).Ahmed Ali moved to Pakistan from China in 1948. Joining the Pakistan Foreign Service, he established diplomatic relations with the People's Republic of China as Pakistan's first envoy to Peking (now Beijing), 1950-52, and later with the Kingdom of Morocco. A skilled translator from the Arabic, Indonesian, and Chinese, in addition to Urdu, he is also well known for his English translation of the Qur'an: Al-Qur'an, A Contemporary Translation, Princeton University Press, which is recognized by Islamic scholars as one of the best existing translations of the Qur'an. Influenced by his travels in China, he became a collector of Chinese porcelain & art, and part of his collection was auctioned at Christies in London on 25th July 1960, as Mrs B. Ali's collection. Professor Ahmed Ali is a Founding Father of the Pakistan Academy of Letters; he received Pakistan'sSitara-i-Imitiaz (Star of Excellence), 1980, and an Honorary Doctorate of Philosophy by the University of Karachi, 1993. The Pakistan Post issued a commemorative postage stamp to honour his contributions to Pakistan and Literature, 2005; to celebrate his birth centenary an international conference: Ahmed Ali, Progressive Writers, and Bilingual Creativity, was held by the Sahitya Akademi, Lucknow University, and the Association of Commonwealth Literature and Language Studies, at the Lucknow University in 2011.FOR THIS LOTIt was during the 1940s and 1950s that Roy reinterpreted iconic images in several of his paintings, as he believed that sacred art created the richest mythological traditions. His works were created for the community, and he turned his back on colonial culture, seeking to restore a simple goodness to art that had been lost to the elite of the colonial metropolis. In the two lots that form part of this collection, the first depicting Mary (left), Jesus (centre) and Mary Magdalene (right) and the second depicting Jesus we can see how Roy's intense concentration and ruthless ability to pair down the inessential details, leads to a remarkable modernist brevity, boldness and simplicity of expression, which was a vehicle for his deep and understated social commitment. (Partha Mitter, The Triumph of Modernism: India's artists and the avant-garde 1922-1947, 2007, pp.112-122)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 40
Ismail Gulgee (Pakistani, 1926-2007)Untitled (Calligraphic) signed and dated '99 lower rightoil on ceramic tile30.8 x 30.8cm (12 1/8 x 12 1/8in).Footnotes:ProvenanceThe Collection of Mrs. Nighat Hussain who acquired this work from the artist;Acquired by the vendor from the above. 'My work is the externalisation of my inner journey. Through it I communicate with the pulse of life. The calligraphic form and movement that emerges is not premeditated or cerebral, it is intuitive and articulates something deep inside me. It is important that no thought of how people will react to my work intrudes, as they would destroy the thread and take the truth away. I am enchanted by Islamic calligraphy and feel close to Sufi mystics. At the mystic level, barriers melt away and religious experience whether Buddhist, Hindu or Muslim become one. One could call it human experience of the ineffable.' (Annemarie Schimmel in M. Ismaili, Gulgee, Ferozesons, 2000, unpaginated)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 127
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1872 M. Melbourne. Shield. With the Melbourne mint just starting up in 1872, the calendar year mintage for this year was only 748,180 which includes both the Shield and St. George reverse types. Average mintage figures at this time stand in the millions, hence this is a very scarce coin in any grade.Young head left, WW on truncation; date below; VICTORIA DEI GRATIA. / Crowned shield within wreath; mintmark M and national emblems below; BRITANNIARUM REGINA FID: DEF:. Edge milled.Very fine. Reference: S-3854; Marsh-59; McD-120Mintage: 748,180.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 129
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1874 M. Melbourne. St George. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with long tail; date and small B.P. in exergue. Edge milled.In secure plastic holder, graded PCGS AU55 , certification number 39521576. Reference: S-3857; Marsh-96; McD-149Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 130
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1875 M. Melbourne. St George; Long Tail. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with long tail; date and small B.P. in exergue. Edge milled.About extremely fine. Reference: S-3857; Marsh-97; McD-151aMintage: 1,888,405.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 132
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1876 M. Melbourne. St George. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with long tail; date and small B.P. in exergue. Edge milled.Extremely fine. Reference: S-3857; Marsh-98; McD-153Mintage: 2,124,445.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 133
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1877 M. Melbourne. St George; Medium Tail. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with medium tail; date and small B.P. in exergue. Edge milled.About extremely fine. Reference: McD-154bDiameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 135
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1881 M. Melbourne. Shield. Young head left, WW on truncation; date below; VICTORIA DEI GRATIA. / Crowned shield within wreath; mintmark M and national emblems below; BRITANNIARUM REGINA FID: DEF:. Edge milled.Good very fine. Reference: S-3854A; Marsh-62; McD-130Mintage: 2,324,800.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 137
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1884 M. Melbourne. St George; WW Buried. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with short tail; date and small B.P. in exergue. Edge milled.Cleaned, extremely fine. Reference: S-3857B; Marsh-106; McD-167aDiameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 149
AUSTRALIA. Edward VII, 1901-10. Gold sovereign, 1906 M. Melbourne. Bare head right, DeS. below; EDWARDVS VII D: G: BRITT: OMN: REX F: D: IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.Very fine. Reference: S-3971; Marsh-190; McD-223Mintage: 3,657,853.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 151
AUSTRALIA. Edward VII, 1901-10. Gold sovereign, 1909 M. Melbourne. Bare head right, DeS. below; EDWARDVS VII D: G: BRITT: OMN: REX F: D: IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC MS 61, certification number 2126803-006. NGC Census in this grade: 15.NGC Census in higher grade: 77Total NGC Census: 102Reference: S-3971; Marsh-193; McD-232Mintage: 3,029,538.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 153
AUSTRALIA. Edward VII, 1901-10. Gold sovereign, 1910 M. Melbourne. Bare head right, DeS. below; EDWARDVS VII D: G: BRITT: OMN: REX F: D: IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.About extremely fine. Reference: S-3971; Marsh-194; McD-235Mintage: 3,054,547.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 157
AUSTRALIA. George V, 1910-36. Gold sovereign, 1911 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC MS 62, certification number 2126803-008. NGC Census in this grade: 20.NGC Census in higher grade: 30Total NGC Census: 66Reference: S-3999; Marsh-299; McD-338Mintage: 2,851,451.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 158
AUSTRALIA. George V, 1910-36. Gold sovereign, 1911 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC MS 61, certification number 2126803-010. NGC Census in this grade: 4.NGC Census in higher grade: 50Total NGC Census: 66Reference: S-3999; Marsh-299; McD-338Mintage: 2,851,451.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 161
AUSTRALIA. George V, 1910-36. Gold sovereign, 1912 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded PCGS MS64 , certification number 83962912. PCGS population in this grade: 76.PCGS population in higher grade: 12.Reference: S-3999; Marsh-230; McD-241Mintage: 2,469,257.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 165
AUSTRALIA. George V, 1910-36. Gold sovereign, 1914 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC MS 62, certification number 2126803-015. NGC Census in this grade: 20.NGC Census in higher grade: 72Total NGC Census: 101Reference: S-3999; Marsh-232; McD-247Mintage: 2,012,029.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 168
AUSTRALIA. George V, 1910-36. Gold sovereign, 1915 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.About extremely fine. Reference: S-3999; Marsh-233; McD-250Mintage: 1,637,839.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 187
AUSTRALIA. George V, 1910-36. Gold sovereign, 1924 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC MS 63, certification number 6066374-085. NGC Census in this grade: 22.NGC Census in higher grade: 31Total NGC Census: 67Reference: S-3999; Marsh-242; McD-277Mintage: 278,140.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 188
AUSTRALIA. George V, 1910-36. Gold sovereign, 1925 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC MS 62, certification number 2125235-007. NGC Census in this grade: 8.NGC Census in higher grade: 46Total NGC Census: 56Reference: S-3999; Marsh-243; McD-280Mintage: 3,311,662.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 190
AUSTRALIA. George V, 1910-36. Gold sovereign, 1926 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.Extremely fine. Reference: S-3999; Marsh-244; McD-283Mintage: 211,107.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 103
Early 3rd century A.D. A rectangular marble sarcophagus excavated near the Tomb of Cecilia Metella in Rome. The front panel decorated with two opposing series of double strigilatures (spiral fluting) with matching sharp concave edges, converging in the centre where the tabula inscriptionis is located; the latter, of quadrangular shape, enclosed within a moulded frame not occupying the entire height of the box, but showing a pulvinus (cushion) in the lower part, bound above and below by a smooth strip and on the sides by two slightly protruding semi-circular elements; the internal compartment of the box with rounded comers, the sides and back smooth; the table bearing a later inscription on five lines: 'D(is) M(anibus)/ C.Tutilio.Rufino. / Venatori. / T.Claudius. Secundus. / Amico. B(ene).M(erenti). P(osuit)'. Cf. Koch, G., Sichtermann, H., Romische Sarkophage, Munchen, 1982, pp.73-76 and 241-245; Ramieri, A.M., in Museo Nazionale Romano, Le Sculture, I, 3, Roma 1982, n. II, 31, pp.62-64; Sapelli, M. in Museo Nazionale Romano, Le Sculture, l, 7, Parte II, Roma 1984, n. Xtr, 8, pp.374-375, no. XII 10, pp.376-377, XV,20, p.459; for the strigillated sarcophagi and on the various compositional schemes used in them, and on the origin of the strigillated decoration see in detail Koch-Sichtermann 1982, with bibl. prev. 50 x 208 x 55.5 cm (19 3/4 x 81 3/4 x 21 3/4 in). Excavated near the tomb of Cecilia Metella in Rome by the Duke of Buckingham in 1828, and removed to Stowe House, Buckinghamshire. Acquired Christie's at the Stowe sale in 1848, lot 115, by the Earl of Lonsdale and removed to Lowther Castle, Penrith, Cumbria. Purchased at the sale of the contents of Lowther Castle in June 1957. Later with Heathcote Ball & Co, The Ashby Folville Manor Sale, Leicestershire, 15th March 1984, lot 116. Property of a North American collector. Accompanied by an academic report by Dr Laura Maria Vigna. Accompanied by scholarly note TL05424 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11172-187994. The strigilature are decorative elements with wavy grooves that recall the shape of the strigil, the curved implement that Roman athletes and bathers used to scrape oil from their bodies. They are very frequent in the Roman Imperial age starting from the 2nd century A.D., with a particular diffusion in the 3rd century A.D. and in the production of the Early Christian art of the following century. They are carved in parallel series, especially in the ornamentation of sarcophagi, urns and vases. The strigilature are frequently framed by architectural elements or interspersed with figurative decorations, inscriptions and protomes. The sarcophagus can be placed for typological comparisons to the 3rd century A.D., probably made in the first half of the century, considering the accuracy of the workmanship and the chiaroscuro performance of the strigilature (for sarcophagi of this type see Ramieri, A.M. and Sapelli, M. in bibl). It is possible that the inscription was redone in its present form at a later time in the 19th century. [A video of this lot is available to view on Timeline Auctions Website]. For this specific lot, 5% import VAT is applicable on the hammer price Fine condition. This lot is only available for viewing at our Harwich premises.
Lot 159
c.7th century A.D. A sheet-gold plaque displaying the bust of Christ surrounded by a cross within a roundel at the centre, triangular pediment above with central Christian cross, flanked by Greek letters '??', roundels above to the sides, columns delineated with X-motifs below, horizontal lines of enigmatic Greek and Latin text repeating various letters; mounted in a glazed frame. Cf. Sannazzaro, M., Giostra C., Petala Aurea, Gold-Sheet-work of Byzantine and Lombard Origin from the Rovati Collection, Truccazzano, 2014, nos.18, 19, 21. 78 grams total, 10.1 x 10.1 cm including frame (4 x 4 in). With Christie’s, London, 20 May 1981, lot 115. Property of a London gentleman. According the Roman Bishop Isidore of Seville, the bractea were 'Very thin sheets of gold.called bractea from the Greek term bremetos, which is onomatopoeic for clanging or the action of bratun (shaking or beating) the sheet of gold'. Roman and medieval manuals describe in great detail the work of the bractearii or gold beaters, capable of producing fine sheets of metal only one millimetre thick. They were used in goldsmithing or covering less noble materials, or thinned to produce foil for gold mosaic tiles, threads for precious embroidery or gold leaves for various techniques of gilding. Fine condition.
Lot 160
7th-9th century A.D. A silver-gilt belt mount formed as a square plaque decorated with repoussé facing ducks inscribed in a tondo, pearled edge and triangular finial ornamented with volutes. See similar style in art decoration and belt elements from Bulgaria in Inkova, M., 'Duck Image on a Gilt Silver Strap End: on 'Diffused' Motifs of the Early Medieval Bulgarian Culture' in Archaeologia Bulgarica, Sofia, 2003, pp.83-96, figs. in pl.V. 2.07 grams, 47 mm high (1 3/4 in). Collection formed in the 2000s. Property of an English gentleman. The theme of the duck, inherited by the Byzantines from Sassanian art (wallpainting in Eastern Turkestan, reliefs at Taq-i-Bustan, see Inkova, 2003, p.91) was widely used in the belt mounts of the Eastern Roman Empire, especially from the 7th to the 9th century A.D. Its use in the Imperial Court of Constantinople strongly influenced that of the Empire’s neighbours, like the Bulgarian Court at Preslav. [No Reserve] Fair condition.
Lot 169
3rd-2nd millennium B.C. A large section of a ceramic cuneiform tablet bearing cuneiform script to both faces, one side clearer than the other. 132 grams, 63 mm (2 1/2 in). Acquired on the French art market before 1988. Private deceased estate, passed to heirs, 2010. Private French collection of C. M., 2015. [No Reserve] Fair condition.
Lot 170
22nd to 21st century B.C. A roughly pillow-shaped ceramic cuneiform tablet, bearing clear cuneiform script to both faces. 79 grams, 56 mm (2 1/4 in). Acquired on the French art market before 1988. Private deceased estate, passed to heirs, 2010. Private French collection of C. M., 2015. [No Reserve] Fair condition, chipped.
Lot 295
Tang Dynasty, 618-907 A.D. A group of four gilt musician figures depicting court ladies comprising: two seated figures dressed in voluminous robes, wearing the traditional court attire and playing the pipes; a similarly seated figure playing a drum, with detailing to her necklace, arm rings and hair; a figure seated wearing a floor-length robe, voluminous sleeves, head tilted whimsically to one side, playing a guzheng; the facial features delicately modelled in a serene expression and the hair adorned with a headdress, each musician wearing a different facial expression; each accompanied by a custom-made display base. Cf. Prodan, M., The Art of The T'ang Potter, Thames and Hudson, 1960, for comparable examples (pl.VII p.16) and discussion; Wong, G., The Silk Road: Treasures of the Tang China, Singapore, 1991, pp.78-80, for comparable musician figures in a different medium; Congyun, L., Yang, Y., Gushan, Z., Imperial Tombs of China, Orlando, 1995, p.117, for representation of musicians on a Tang cup from Hejia; Michaelson, C., Gilded Dragons, Buried treasures from China’s Golden Ages, London, 1999, fig.39, p.71, 88, p.124, 90, p.126, 113, p.156; cf. images of Tang censer with representations of female musicians in Rastelli, S., Scarpari, M., Il Celeste Impero, dall'esercito di Terracotta alla Via della Seta, Milano, 2008, fig.83, p.182. 350 grams total, 60-75 mm high (730 grams total, 85-95 mm including stand) (2 3/8 - 3 in. (3 3/8 - 3 3/4 in). Late Sir Roger Moss OBE collection. Property of a Cambridgeshire, UK, lady. Accompanied by an academic 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 no.11188-185450. [4] Fine condition.
Lot 319
8th-7th century B.C. A Urartian or Assyrian helmet raised from a single bronze sheet, decorated with three circumferential raised ribs above the brim alternating with incised volutes forming a decorative chain around the helmet; a raised vertical rib with a lion's head terminal to the front of the helmet, flanked by six arched ribs each with an animal-head terminal formed as a snake, a ram and a bull; beneath the raised brows an incised worshipping scene with two crowned kings (or a king and a prince) with their hands raised in attitude of worship; the left hand figure with two eunuchs behind him, each armed with a bow, arrows and a long sword; the right hand figure preceded by a tall winged god, possibly Shivini-Shamash, and followed by a dignitary armed with a long sword, a winged genii to each side; the central scene is the meeting point of a long procession incised around the rim of the helmet, consisting of royal attendants dressed in long Assyrian costume and carrying gifts such as cattle, gold, clothing and wine; the rim with pierced holes for fastening of leather lining and cheek-pieces; mounted on a custom-made display stand. Cf. Barnett, R.D., Watson, W., ‘Russian Excavations in Armenia’ in Iraq, vol.14, no.2, fig.15, and pls.XXXII,2, XXXIII,2; Borchardt, J.,Homerische Helme: Helmenformen der Ág?is in ihren Beziehungen zu orientalischen und europäischen Helmen in der Bronze-und frühen Eisenzeit, Mainz, 1972, pp.103ff., fig.9, p.107, 10-12, p.108; pl.34,4; Born, H., Seidl, U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann IV, Mainz, 1995, pp.90, 94, 107ff., pp.174-175, pls.I, IX, X-XI (AG 168, 385); Dezs?, T., Oriental Influence in the Aegean and Eastern Mediterranean, Helmet traditions in the 9th-7th Centuries B.C.: the Patterns of Orientalisation (British Archaeological Reports, S691), Oxford, 1998; Christie’s,The art of the warfare, the Axel Guttmann collection, Part II, Wednesday 28 April 2004, London, 2004, pp.38-39 no.39; Gorelik, M.,Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian, pl.LXI nn.88-89-90; Castelluccia, M., ‘Urartian Metalwork in Caucasian Graves’ in Makalatia, S., Studies in Caucasian Archaeology, Tblisi, 2014, fig.3; see Christie's, 5 June 2014, lot 54; see also Christie's, 14 April 2011, lot 330. 1.04 kg, 28.6 cm high (2.35 kg total, 45 cm including stand) (11 1/4 in. (17 3/4 in). Previously in a private family collection, kept in the UK since the 1960s. London art market, acquired from the above. Private UK collection, acquired from the above 20th June 2017. Accompanied by an archaeological report by military specialist Dr Raffaele D'Amato. Accompanied by an Art Loss Register certificate number S00126093, dated 18 July 2017. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11170-187280. The motif of the three animal’s heads is visible in helmets from royal graves (bronze helmet from the ‘Royal Burial’ of Lori-Berd, Armenia). Also the helmet with the Sarduri inscription shows a broad frieze of chariots and ritual scenes protected by lion heads. Dezs? proposed various possibilities for the significance of the curved crooks or snakes on front of these helmets, the main ones being of apotropaic significance or simply being used to frame the scene below. [A video of this lot is available to view on Timeline Auctions Website] Fine condition. A large heavily decorated museum-quality example.
Lot 320
8th-7th century B.C. A broad conical bronze helmet, hammered from a single metal sheet, the front with a raised abstract linear motif, four circumferential ribs above the brim, the arched ribs on the front with round terminals, flanking a central rib running down from the apex of the helmet with a stylised animal head(?); pierced holes to the sides for fastening a leather lining and cheek-pieces; mounted on a custom-made display stand. Cf. Barnett, R.D., Watson, W., ‘Russian Excavations in Armenia’ in Iraq, vol.14, no.2, Autumn, 1952, pp.132-147, pl.32, no.2; Borchardt, J.,Homerische Helme: Helmenformen der Ág?is in ihren Beziehungen zu orientalischen und europäischen Helmen in der Bronze-und frühen Eisenzeit, Mainz, 1972, pp.103ff.; Born H., Seidl, U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann IV, Mainz, 1995, pp.90, 94, 107ff., pp.174-175, pls.I and IX, X-XI (AG 168, 385); Christie’s, The art of the warfare, the Axel Guttmann collection, Part I, Wednesday 6 November 2002, London, 2002, no.11 p.18; Christie’s, The art of the warfare, the Axel Guttmann collection, Part II, Wednesday 28 April 2004, London, 2004, pp.32-33; Dezs?, T., Near Eastern Helmets of the Iron Age, (British Archaeological Reports,S992), Oxford, 2001; Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian, pl.LXI, nn.88-89-90; see Christie's, 5 June 2014, lot 54; see also Christie's, 14 April 2011, lot 330. 735 grams, 33.7 cm high (2.6 kg, 54 cm including stand) (21 1/4 in). Acquired before 1972. Formerly with a central London gallery. Property of a London gentleman. Accompanied by an archaeological report 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 no.11189-186652. Our helmet presents strong similarity with a specimen from Kurdistan, North of Kirmanshah and South of Saqqiz (Borchard, 1972, fig.9, p.107), and could be collocated in the type III of the Urartian helmets according the classification of Borchard. This category is oriented towards the shape of the various Assyrian spiked helmets, and in fact Barrett and Watson classified these helmets as of Assyrian type (Barnett & Watson, 1952, p.143). In the 8th and especially in the 7th century B.C., spheroconical helmets of Assyrian type spread to Urartu and are archaeologically represented by a large quantity of specimens (Gorelik, 2003, Pl. LXI, 77, 85-92). Sometimes they differ from the Assyrian ones having an exaggeratedly long top. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.
Lot 321
Late 2nd-early 1st millennium B.C. A complete Elamite or Assyrian chariot wheel rim, comprising six large bronze C-section wheel clamps, each clamp with three pairs of lateral lugs and attachment rivets for insertion over the wooden wheel and three pairs of inward facing rivetted double tabs; mounted on a wooden replica spoked wheel. See Stillmann N. & Tallis N., Armies of the Ancient Near East, 3000 BC to 539 BC, Worthing, 1984; Emiliozzi, A., Carri da Guerra e principi etruschi (War chariots and Etruscan princes, in Italian), Roma, 1999, pp.5ff.; Caubet, A. & Yon, M., ‘Pommeaux de chars, du Levant à la Mésopotamie et à l’Élam’, in Études Mésopotamiennes: Recueil de Textes Offert à Jean-Louis Huot, Paris, 2001, pp.69-78; Gökce, B., 'On Urartian Chariots' in Veldmeijer, A.J. & Ikram, S., Chasing Chariot/Proceedings of the First ?nternational Chariot Conference (Cairo, 2012), Cairo, 2013, pp.107-122; a similar wheel in the National Museum of Iran in Tehran, and was excavated from Choqa Zanbil, an ancient Elamite site in Khuzestan province of Iran. 6.6 kg total, 80 cm wide (31 1/2 in). UK private collection before 2000. UK art market. Property of a London gentleman. 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 no.11259-189515. In Mesopotamia and other regions of the Near East, the chariot was preceded by vehicles with disc wheels, with two or four wheels, pulled by a pair of donkeys or mules. The light, two-wheeled, horse-drawn chariot with spoked wheels was introduced into the Levant early in the 2nd millennium B.C. (Caubet and Yon, 2001, p.71), and from there the Canaanites (“Hyksos”) brought it to Egypt. Five innovations gave the chariot its superiority: the spoked wheels, exclusive use of traction by horses, the creation of the horse bit, the use of the bow as a primary weapon associated with the chariot and the proportions suitable for a couple of passengers standing side by side on the chariot’s platform. In 7th century B.C., the Elamite chariots were drawn by two or four mules or small horses. The crew consisted of a driver and up to three archers, who sat or knelt on the platform which was covered in a reed maat. Fine condition.
Lot 322
8th-7th century B.C. A broad hammered bronze cuirass or belt decorated in chased low relief; ornamented with clusters of raised bosses in four horizontal bands; the terminals formed from large rectangular plaques cut from another armour, decorated with foliage ornaments and three lions standing in profile, each panel fitted with a fastening ring; the edges of the belt with regularly disposed holes for fastening to the leather lining; mounted on a custom-made frame. See Esayan, S.A., ‘?????????? VI-V ??. ?? ?. ?. ? ????? ????????? (Burials of the 6th-5th centuries B.C. in the mountains of Shamshadin’ in ?? (Sovietskaya Archeologjia - Archaeology of the Soviet Union), 1965; Esayan, S.A., 'Gürtelbleche der Älteren Eisenzeit in Armenien' in Beiträge zur allgemeinen und vergleichenden Archäologie, vol.6, pp.97-198, pls.8 & 25, nos.25 and 26 (belts from Golovino); Born H., Seidl, U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann IV, Mainz, 1995, AG 230, 231; Gorelik, M.,Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian, pl.LXI, nn.88-89-90. 554 grams, 78mm wide (3 1/8 in). Acquired on the London art market, 1994. Property of a North London gentleman. Accompanied by an archaeological report by Dr Raffaele D'Amato. The belt-cuirass preserves a decoration substantially identical to various complete and fragmentary belts from the collection of Caucasian and Urartian items preserved in the Rezan Has Muzesi of Istanbul. According to Gorelik, by comparison with some armour-belts, especially the ones with the same pattern from Tigranakert (2003, pl.LIX, no.8) the employment of such belts lasted at least until the 7th century BC. Protective belts in the Caucasus were very popular, especially among Urartians. The early examples of such armoured belts appeared in Middle East, at the beginning of the first millennium BC, introducing an original fixing system on the waist, instead of the simple ties: a hook was first sewn separately to one end of the belt, and later became part of a massive bronze buckle furnished with a rectangular ring. [A video of this lot is available to view on Timeline Auctions Website] Fair condition, repaired.
Lot 331
Early 2nd millennium B.C. A bronze mace head comprising a long cylindrical shaft with narrow flanged base, the upper section with three vertical relief panels decorated by herringbone pattern, divided and bordered by three parallel ridges, similar band with ridged horizontal grooves around the base. See Godard, A., Les Bronzes du Luristan, Paris, 1931, pl.XIX, no.58, for a similar mace; see also Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 2002, p.24, nos.18-19; Khorasani, M. M., 'Bronze and iron weapons from Luristan' in Antiguo Oriente: Cuadernos del Centro de Estudios de Historia del Antiguo Oriente, 7, 2009, fig.8. 452 grams, 24 cm (9 1/2 in). Earlier 20th century collection. London Mayfair gallery, UK. Dr D.G. collection, 1990s-2019. This gorz mace belongs to the category of truncheon-shaped mace-heads, a type of mace developed on the Iranian plateau during the Bronze Age, used by Elamite and Luristan warriors since the 3rd millennium B.C. Fine condition.
Lot 335
8th-7th century B.C. An iron dagger with a tapering double-edged blade with a raised three-row median ridge, the wide and flat hilt with bronze cap and lower guard, the handle with nine pierced concentric circles in two rows on bronze; accompanied by a bronze chape with paddle-shaped foot. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003 (in Russian), see pl.VIII, nos.7 and 10, for similar daggers from the burial ground in Kislovodsk. 207 grams total, 7-34.5 cm long (2 3/4 - 13 1/2 in). Private collection of Mr M.B., Mainz, Germany, 1990s. Property of a London businessman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11202-186233. The Cimmerian dagger, of type Kabardino-Pjatigorsk, belongs geographically to the Northern Black Sea area. These weapons are considered by scholars like Gorelik, as daggers of North-Caucasus 'Cimmerian' type of the North Caucasus, usually with iron blades and bronze hilts and chape, and the characteristic of having one of the ends of the cross-guard with holes for hanging. These blades with triangular cross-guards, widely spread in the second half of the 8th - the first half of the 7th century B.C., developed according to Gorelik and other scholars, in the cross-guards of the Scythian-Iranian bladed weapons. [2] Fine condition.
Lot 336
7th century B.C. A bronze dagger with a triangular decoration on the handle, the oval openwork pommel showing two facing mountain goats each with a single stylised horn; the short guard decorated differently on either side. See for Altai daggers of this typology Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003 (in Russian), see pl.VIII, nos.45,46,55, from Khakassia, the Basin of Minusinsk and Biysk (Altai). 81 grams, 23.5cm long (9 1/4 in). Private collection of Mr M.B., Mainz, Germany, 1990s. Property of a London businessman. During the 7th-4th centuries B.C. the steppe people living beyond the borders of China created glorious nomadic cultures, including that of the Scythians along the Pontic area, the Sauro-Sarmatian culture in the Volga-South Ural region, the Saka culture in Kazakhstan, the Tagar culture in the Minusinsk Basin, the nomadic people in Altai and Tuva and the Slab Grave culture in Mongolia. Mountain goats with unnaturally elongated and dramatically curved horns are typical of the art of the Altai Nomads, or Eastern Scythians. Fine condition.
Lot 337
Late 1st-2nd century A.D. A copper-alloy sheath mount belonging to a dagger (pugio) of type II, composed of a plaque divided into six decorated sections, the upper and the third representing a goddess’s head enclosed in a tondo, surrounded by foliage, the second and the fourth representing a flower enclosed inside a trapezoidal pattern with plants in all four corners, the last two sections ornamented by tripartite foliage with sinusoid pattern at the base; the edge decorated with dots, the first and the third section fitted with extension at the sides, having four holes for fastening to the wooden core; traces of niello on the leaves; mounted on a custom-made display stand. Cf. Feugère, M., Weapons of the Romans, London, 2007, pp.126-128; Casprini, F., Saliola, M., Pugio gladius brevis est, storia e tecnologia del pugnale da guerra romano, Roma, 2012, fig.F40, for the type (from Vindonissa). 290 grams total, 25 cm high including stand (9 7/8 in). UK private collections, 1990s. Property of a Sussex, UK, teacher. The decorative sheath seems to be of the type “A3” according to Casprini and Saliola, decorated with incisions in brass and silver without the use of enamels. The absence of the latter is their specific characteristic, although they do share symbolism with ‘type B’ sheaths which can be mainly identified by temples, palms, diamonds inside squares. They can be dated to Nero’s reign and possibly to the later Flavian Age. The decoration is unusual and in some aspect recalls the one of the Hercules sheath published by M. Feugère (p.127) and originally sketched by R. Forrer. Fine condition, repaired.
Lot 338
1st-3rd century A.D. A double-edged gladius sword blade of Pompeii type of piled construction with long, parallel cutting edges tapering sharply towards the triangular point, battle nicks on the sides; blade lentoid in section with long, flat-section tang. See Curle, J., A Roman Frontier Post and its People, the Fort of Newstead in the Parish of Melrose, Glasgow, 1911; Bishop, M. C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007, no.A453, pl.31. 646 grams, 62.5 cm (24 5/8 in). Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. This type is the main one represented on the Column of Trajan as well as on the Adamklisi monument. Although its employment decreased after the first half of the 2nd century AD, variants of this sword were still used during the 3rd century. This kind of sword was much more suitable than the older Mainz typology for the fight against the Germanic tribes, allowing the legionary to deliver equally successful blows by stabbing and chopping. Fine condition.
Lot 350
13th-14th century A.D. A Mazovian or Teutonic Order war axe, hand-forged with rectangular-section socket and expanding bearded blade; a maker's mark to one side of the blade and an openwork three-lobed flower tapering towards the blade; four notches on the upper part of the socket. See Glosek, M., Pó?no?redniowieczna bro? obuchowa w zbiorach polskich, Warszawa-?ód?, 1996, pls.VII-VIII, especially VIII lett.C. 805 grams, 17.8 cm (7 in). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. This typology of axes (type Ig of the Glosek classification) was in use throughout Europe in the 13th-14th centuries. This axe is similar to one excavated during an archaeological survey of the castle at Czersk, dated to the 13th-14th century A.D. Close parallels have also been found in Elbl?g, a famous commandery of the Teutonic Order from 1237 to 1454 A.D. The stronghold served as a seat of the Masters of the Teutonic Order. [No Reserve] Very fine condition, professionally cleaned, conserved and restored.
Lot 353
14th-15th century A.D. An iron long sword of Oakeshott's miscellaneous type, cross style 5, pommel style H1, with a long tapering two-edged blade, broad at the hilt, sharp reinforced point and a shallow but once well marked fuller on the upper two-thirds; the blade bearing remains of an inlaid latten design to each face, a trapezoidal banded shield to one face and a Passau Wolf to the other (marks of the armourers); various signs of battle nicks along the edges on both sides have slightly reduced the width of the blade; narrow lower guard with flared ends in style 5, the quillons tapering to squared ends; broad flat tang and long grip, hexagonal pommel chamfered to the lateral edges; possibly of German origin. Cf. Oakeshott, E., The sword in the Age of the Chivalry, Woodbridge, 1964 (1994); Oakeshott, E., Records of the Medieval Sword, Woodbridge, 1991; Scalini, M., A bon droyt, Spade di uomini liberi, cavalieri e Santi/Epées d'hommes libres, chevaliers et saints, Milano, 2007; very similar sword in Oakeshott, 1991, p.223, no.6; another sword of the same typology in Cerreto Guidi, Museo Storico della Caccia e del Territorio (Historical Museum of hunt and territory), Firenze (Scalini, 2007, pp.142-143). 1.95 kg, 1.14 m long (45 in). Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. Accompanied by an academic report by military specialist Dr Raffaele D'Amato. It seems reasonable to suppose that these big ‘war swords’, especially if they could also be used with two hands, may have been carried in two different ways. In 1372 A.D. a certain D'Orronville describes …David Olegreve qui…portait deux espées, une ceinte et l'autre a l'arcon de la selle (David Olegrave who.wore two swords, one at the belt and the other at the arch of the saddle). The presence of the 16th century A.D. Passau wolf on the blade, if not added later, could support the thesis that the sword was a product of German sword maker. Fine condition.
Lot 371
14th-12th century B.C. A bronze axehead with raised sides on both faces to receive a handle, D-shaped cutting edge and rectangular butt. Cf. similar specimens in Kostrzewski, J., The Prehistory of Polish Pomerania, Torun, 1936, fig. 13, p.37; Novotna, M., Die Äxte und Beile in der Slowakei, Prähistorische Bronzefunde, Abteilung IX, Bd.3, Munich, 1970, pl.47. 491 grams, 17 cm (6 3/4 in). Private collection, 1950s. Ex Gorny and Mosch, Munich, Germany, 18 December 2009, lot 463 (Part). The Lusatian Culture (1300–500 BC) is a Late Bronze Age culture, located in the geographic areas of Eastern Germany (Saxony and Brandenburg), Slovakia and Poland and the Baltic countries, and characterised by cremation burials. The dead were buried with their personal equipment. Men were provided with weapons (comprising sword, dagger, axe and spearhead) and ornaments (usually a pin or bracelet). Very fine condition.
Lot 372
14th-12th century B.C. A bronze axehead with raised sides on both faces to receive a handle, D-shaped cutting edge and rectangular butt. Cf. similar specimens in Kostrzewski, J., The Prehistory of Polish Pomerania, Torun, 1936, fig. 13, p.37; Novotna, M., Die Äxte und Beile in der Slowakei, Prähistorische Bronzefunde, Abteilung IX, Bd.3, Munich, 1970, pl.47. 487 grams, 16.7 cm (6 1/2 in). Private collection, 1950s. Ex Gorny and Mosch, Munich, Germany, 18 December 2009, lot 463 (Part). The Lusatian Culture (1300–500 BC) is a Late Bronze Age culture, located in the geographic areas of Eastern Germany (Saxony and Brandenburg), Slovakia and Poland and the Baltic countries, and characterised by cremation burials. The dead were buried with their personal equipment. Men were provided with weapons (comprising sword, dagger, axe and spearhead) and ornaments (usually a pin or bracelet). Very fine condition.
Lot 373
14th-12th century B.C. A bronze axehead with raised sides on both faces to receive a handle, D-shaped cutting edge and rectangular butt with rectangular indentation. Cf. similar specimens in Kostrzewski, J., The Prehistory of Polish Pomerania, Torun, 1936, fig.13, p.37; Novotna, M., Die Äxte und Beile in der Slowakei, Prähistorische Bronzefunde, Abteilung IX, Bd.3, Munich, 1970, pl.47. 517 grams, 16.8 cm (6 5/8 in). Private collection, 1950s. Ex Gorny and Mosch, Munich, Germany, 18 December 2009, lot 463 (Part). The Lusatian Culture (1300–500 B.C.) is a Late Bronze Age culture, located in the geographic areas of Eastern Germany (Saxony and Brandenburg), Slovakia and Poland and the Baltic countries, and characterised by cremation burials. The dead were buried with their personal equipment. Men were provided with weapons (comprising sword, dagger, axe and spearhead) and ornaments (usually a pin or bracelet). Very fine condition.
Lot 422
c.1100-1125 A.D. A carved sandstone capital from an architectural column with square upper face developing to a round base; the spandrel decorated with a frieze carved in the half-round, two winged lions each with its tail looped around its body from an interlaced vegetation motif with trefoil finials towards a looped serpent with its head in the jaws of one lion and tail looped around the head of the other; made in South West France, possibly from the church of Saint Constant, Cantal, France. Cf. a limestone capital with lions, from France, Charente, Church of Saint-Constant, about 1100-1125 A.D., originally in a French Museum, now in The Chicago Art Institute, inventory no.1944.404; Igarashi-Takeshita, M., ‘Les lions dans la sculpture romane en Poitou’ in Cahiers de civilisation médiévale, 23e année (n°89), Janvier-mars 1980, pp.37-54, figs.1,11, pl.III; Lassalle, V., ‘Les chapiteaux, l’organisation du décor et quelques particularités architecturales de l’église Notre-Dame, à Saignon (Vaucluse)’ in Archéologie du Midi médiéval. Tome 20, 2002, pp.37-55, for similar capitals with foliage interlaces, fig.4; Toman, R., Romanesque Architecture, Sculpture, Painting, Cologne, 1997, p.279, for examples of the type. 11.4 kg, 22 cm (8 5/8 in). Swiss private collection. UK trade, 2018. Accompanied by an academic report 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 no.11252-189569. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fair condition.
Lot 427
15th-16th century A.D. A gold ring comprising a D-section hoop with heart-shaped panel to the underside, round bezel with hexafoil panel and triangular void enclosing a historic, very early cut diamond. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 675, for type; see also Boardman, J. & Scarisbrick, D. The Ralph Harari Collection of Finger Rings, London, 1977, item 171, for type. 9.22 grams, 26 mm overall, 18.14 mm internal diameter (approximate size British M 1/2, USA 6 1/2, Europe 13.16 Japan 12) (1 in). European collection, formed in the 1960s and 1970s. Acquired from a London gallery in the late 1980s. Property of a North American collector. Previously in a UK collection. Accompanied by a geological report No.TL005180 by geology consultant Dr R. L. Bonewitz. Accompanied by an independent specialist report and valuation by a graduate gemmologist and jewellery expert ref. no.0586/02/06/2020. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.10615-173081. Dr. Ronald Bonewitz notes: 'This stone can be considered ‘historic’ in that it illustrates the earliest efforts at actually re-shaping the stone rather than just polishing the natural faces, as was done previously. Not only that, at this time facets were placed more or less at random, but this stone was very deliberately cut into a proper geometric shape. It is an early and rather splendid example of the evolving diamond-cutter's art.' [A video of this lot is available to view on Timeline Auctions Website] Very fine condition.
Lot 428
15th century A.D. A gold ring with slender arms and facetted shoulders, facetted trumpet-shaped bezel ornamented with granules and set with a polished emerald cabochon. Cf. Scarisbrick, D. & Henig, M., Finger Rings from Ancient to Modern, Oxford, 2003, item 495, for type. 2.83 grams, 30.29 mm overall, 19.16 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15) (1 1/8 in). English collection formed in the 1990s. UK art market. Property of an Essex gentleman. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.
Lot 433
14th century A.D. A very large bronze chess piece seal matrix with facetted trumpet-shaped body, pierced trefoil knop finial, small dimple to the upper face for alignment; outer ring of Lombardic text '* hVnDR DE tOttEnORE' for 'Hundred of Totnore' and two lines of abbreviated text to the centre 'co[m]itat’ svssex [county of Sussex]'; accompanied by a museum-quality impression. Cf. Linenthal, R. & Noel, W., Medieval Seal Matrices in the Schøyen Collection, Oslo, 2004, pl.XXVII (367), for type. 34.4 grams, 37 mm high (1 1/2 in). Found by a farmer on his land 'eyes only', in Sellindge, Kent, UK, circa 1992. The Hundred of Totnore in the Rape of Pevensey, Sussex appears with the spelling Tottenore in the Rotuli Hundredorum of 1272 and the name means Totta's Bank. Very fine condition. Excessively rare with text at centre.
Lot 443
13th-15th century A.D. A tin ampulla of 'church' or 'chasse' type, formed as a church building, with a rectangular body, sloping roof and two gable ends, the neck of the vessels conceivably formed as a truncated church tower, small right-angled handles at the base, figural scenes in relief adorn the exterior, two crosses stand at each gable end, hatched pattern to base and roof. Cf. Mitchiner, M., Medieval Pilgrim & Secular Badges, London, 1986, pp.14-19, for type. 15.4 grams, 47 mm (1 7/8 in). Found Thames foreshore, Billingsgate, London, UK. It is believed that such ampullae were only produced in Canterbury. [No Reserve] Fair condition.
Lot 452
c.10th-13th century A.D. A Coptic rectangular wooden panel with gessoed surface and painted design of a standing angel with halo, loose blue robe and outer red cloak with rosette designs; right hand raised parallel with the face, left hand enclosed in the folds of the cloak, book held in the crook of the left arm. Cf. Atalla, N.S., Coptic Art, Wall Paintings, Peintures Murales, L'Art Copte, Cairo, 1989, figs.47ff. (paintings from the Dair Al-Suryan Monastery); Zibawi, M., L'arte Copta, l'Egitto Cristiano dalle origini al XVIII secolo, fig.165. 1.3 kg, 77.7 cm (30 5/8 in). New Orleans, USA private collection. Ex central London gallery. [No Reserve] Fine condition.
Lot 470
19th century A.D. A magnificent and superb quality Victorian Gothic revival painted altar or reredos panel, as exemplified by the works and designs of Augustus Pugin, on Welsh slate depicting a large golden cross with latticed arms and squared quatrefoil terminals showing the emblems and names of the four Evangelists, Matthew, Mark, Luke and John; the cross set over a circle enclosing a quatrefoil background with the main discus showing a white cross trefoil on a red expanding cross against a green background with the Christogram letters 'IHS' entwined for Jesus Christ; the design set against a dark blue field ornamented with forty-eight golden radiant six-pointed stars; complete with the original carved oak frame together with the carved oak projecting base plinth shelf with quatrefoil perforations and another Christogram 'IHS' within a blue oval to the central projection. Cf. Stokes, M. (ed.), Didron, A.N., Christian Iconography, The history of the Christian Art in the Middle Ages, London, 1896, figs.36, 69, and p.452. 73 kg total, 134.5cm base and 159 cm high (60 7/8 and 62 1/2 in). Collection formed in the 2000s. Property of an East Anglia gentleman. From the 4th century A.D., the vision of Ezekiel and John's Apocalypse, assigned the lion, the angel, the eagle and the ox a stable place in the iconography of the tetramorph to represent the evangelist Mark (lion) next to the calf (Luke), the angel (Matthew) and the eagle (John). They are, in Christian iconography and theology, the four winged cherubs singing the triumphal hymn, exclaiming, proclaiming, and saying: 'Holy, holy, holy, Lord Sabaoth'. The oldest representations date back to the 5th century A.D., and are found in the mosaics of the baptistry of Naples and in the apse of S. Prudenziana in Rome. The tetramorph was a favourite subject in 12th century ecclesiastic art and its use has continued to the present day. [No Reserve] Fine condition.
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