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Lot 436
A pair of 7 x 50 Kriegsmarine WW2 binoculars (Porro II type) marked to the left side 'M 33319 N' with eagle and swastika engraving (Third Reich) still visible but scratched off, Marked to the right side 7 x 50 beh (Leitz Wetzlar code) 385582 (T) KF CONDITION REPORT Lenses are fairly clear, slight spotting round the edges Makers marks as per catalogue decription
Lot 203
Exceptional Chinese Interior Painted Snuff Bottle, 1885-1895. Painted in understated colors to one side with a paradise bird perching on a blooming tree, the verso depicting a lone fisherman in a boat and a peaceful landscape, with an inscription, signed Zhou Leyuan, three painted red seals. "His favorite subjects were a landscape with Chinese Classic style, with pine and tree and a pavilion overlooking a lake, offer with tiny figures and boats; ?" by Hugh M. Moss published Chinese snuff - Bottles , A magazine for the collector and student of Chinese Snuff - Bottles Number One. Pg.34. Fig. 8. See last two images for reference. Provenance: David Chang Collection (San Francisco, California).
Lot 352
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Titled: "Air Riders" Dated: '01 Oil on Board Signed verso Size: 16.25 x 19.5 in. Overall Size: 20.5 x 17.25 in. (1300)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Lot 354
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Moonlit Mountain" Dated: '96 Oil on Panel. Signed lower right / signed, dated, titled and sized verso. Overall Size: 18 x 23 in. (233 - 4305)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Lot 355
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Patterns for Spring" Dated: '95 Oil / Pastel on Paper. Signed lower right. Image Size: 10.5 x 13.5 in. Overall Size: 16.75 x 19.5 in. Unframed. (196 - 4949)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Lot 110
c. 1-300 AD. Roman. A heavy bronze ring with a D-shaped hoop, a hexagonal bezel with incised curvilinear decoration probably representing a lituus, a Roman cult instrument. The shoulders are also incised with vertical lines. This simple yet elegant ring probably belonged to a Roman auger since the lituus was also the symbol of the office of augur and marked these individuals out as belonging to the priestly group. Good condition. Wearable. Size: D: 16.51mm / US: 6 / UK: M; 6g; Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.
Lot 112
c. 1000-1500 AD, Crusader Period. Bronze ring with a thick circular hoop and a hexagonal bezel featuring an incised Star of BethIehem motif. In the Christian tradition, the Star of Bethlehem, also called the Christmas Star, revealed the birth of Jesus to the Biblical Magi, and later led them to Bethlehem. The star appears only in the nativity story of the Gospel of Matthew, where magi "from the east" are inspired by the star to travel to Jerusalem. There they meet King Herod of Judea, and ask where the king of the Jews has been born. Herod, following a verse from the book of Micah interpreted as a prophecy, directs them to Bethlehem, a nearby village. The star leads them to the stable where Jesus was born in Bethlehem, where they worship him, and give him gifts. It is a symbol often depicted on rings and jewellery during the Medieval period. Good, wearable condition. Size: D: 16.51mm / US: 6 / UK: M; 8g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 136
Ca. 1-300 AD. Roman. A restrung necklace of Roman and modern beads comprising beautiful semiprecious blue Roman agate beads interspaced with modern bronze beads. The agate beads are made even more stunning by the beautiful streaking characteristic of the stone. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Exceletn Condition, wearable.Size: L:225mm / W:270mm ; 12g; Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Lot 137
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising multiple opaque and transparent sub- spherical, tubular and discoid glass, glass-paste and stone beads in a variety of colours. Stunning pearlescent white beads make this necklace a unique statement piece. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable.Size: L:275mm / W:320mm ; 43g; Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Lot 139
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising multiple opaque and sub- spherical, and discoid a glass and glass-paste beads in a beautiful blue colour palette. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable.Size: L:230mm / W:270mm ; 14g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1970s.
Lot 161
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising multiple opaque and transparent sub- spherical, tubular and rectangular glass, glass-paste and stone beads. There are very fine, semiprecious carnelian beads as well as a beautiful blue glass beads with trailed decorations. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable.Size: L:240mm / W:310mm ; 63g; Provenance: From an old British collection formed in the 1980s.
Lot 162
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising multiple opaqu dark coloured sub-spherical, geometric and disk-shaped and glass beads. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable.Size: L:190mm / W:260mm ; 18g; Provenance: From an old British collection, acquired on the UK art market in the 1970s.
Lot 178
C. 1-300 AD, Roman. Silver ring with a circular hoop, and a lozenge shaped bezel onto which is mounted a large, elliptical blue gem. This simple yet elegant ornament may have belonged to a merchant or a Roman matrona. Good condition. Wearable.Size: D: 16.51mm / US: 6 / UK: M; 6g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 179
700-1100 AD, Viking Age. A silver ring with D-shaped hoop and flattened, circular bezel bearing an incised depiction of a stylised wolf within a circle. Fenrir (pronounced “FEN-rir;” Old Norse Fenrir, “He Who Dwells in the Marshes”) is the most infamous of the many wolves in Norse mythology. His importance for the pre-Christian Scandinavians is demonstrated by his being depicted on numerous surviving runestones, not to mention his ubiquity in Old Norse literary sources. This ring may have belonged to a Viking warrior, who wore it as a sign of his prowess in battle. Good condition; wearable.Size: D: 16.7mm / US: 6 1/4 / UK: M 1/2; 3.3g; Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.
Lot 199
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising beautiful semiprecious blue, grey and black Roman agate beads. The agate beads are made even more stunning by the beautiful streaking characteristic of the stone. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Exceletn Condition, wearable. Size: L:220mm / W:290mm ; 26g; Provenance: Private London collection, formed in the 1980s on the UK and European art market.
Lot 200
Ca. 1-300 AD. Roman/Parthian. A restrung necklace of Roman beads comprising beautiful stone, glass and glasspaste beads in creamy yellow hues in a variety of shapes. Beads were an important part of Roman and Parthian women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Excellent Condition, wearable. Size: L:215mm / W:270mm ; 24g; Provenance: From an old British collection, acquired on the UK art market in the 1980s.
Lot 201
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising multiple opaque and transparent sub-spherical, tubular, cubical and lentoid glass, glass-paste and stone beads in a variety of colours. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable.Size: L:270mm / W:330mm ; 53.5g; Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.
Lot 202
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising multiple opaque and transparent sub- spherical, tubular and rhomboidal glass, glass-paste and stone beads in a variety of colours. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable. Size: L:260mm / W:295mm ; 76g; Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.
Lot 203
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising multiple transparent sub- spherical, tubular and discoid and lentoid glass, beads primarily in hues of yellow. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable.Size: L:215mm / W:260mm ; 22g; Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.
Lot 224
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising multiple opaque and transparent sub- spherical, tubular and discoid, and melon-shaped glass, glass-paste and stone beads in a variety of colours. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable.Size: L:215mm / W:300mm ; 25.5g; Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.
Lot 227
Ca. 1-300 AD. Roman. A restrung necklace of Roman beads comprising multiple opaque and transparent sub- spherical, tubular and discoid glass, glass-paste and stone beads in a variety of colours. Stunning vibrant red beads make this necklace a unique statement piece. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable. Size: L:280mm / W:320mm ; 47.5g; Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.
Lot 239
1-200 AD. Roman. Silver ring with D-shaped hoop and flattened, hexagonal bezel bearing an incised galloping horse motif. The cavalry played a major role in Rome’s wars of expansion and represented some of the most elite units of the Roman military. This ring may have belonged to a proud member of the Roman calvary, perhaps an officer. For more information on Roman rings, see: Cf. Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991. Good condition; wearable. Size: D: 16.7mm / US: 6 1/4 / UK: M 1/2; 3.7g; Provenance: From an old British collection, acquired on the UK art market in the 1990s.
Lot 656
A Deactivated .303 Calibre Martini Action Rifle by BSA (1889), Serial No. 4336, with current European specification Certificate of Deactivation, blackened action engraved with crown over VR BSA 1889 and crown over V II, 21ins blued steel barrels with elevating sights, hardwood stock and fore end, impressed with R crown M over 'Enfield', brass cartouche stamped VA109 with contemporary leather sling, 37ins overall Note: This weapon is deactivated and does not require a licence to purchase
Lot 13
An Armand Marseille bisque socket head doll with brown glass sleeping eyes, open mouth with two moulded upper teeth, nylon wig, bent limbed composition body, 26" high, marked G.327.B/Germany/A.15.M, wearing a Victorian lace trimmed cream wool cape and 1930's rayon dress (Est. plus 21% premium inc. VAT)
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375892 item(s)/page