Ca. 300 BC-100 AD. Celtic. Western European. A rare and superbly preserved Celtic iron and bronze helmet. The helmet has a hemispherical one-piece bowl of cast, hammered, chased, and engraved iron, which is surmounted by a bronze low crest that bifurcates at the rear and front in two crescents that used to extend around the whole bowl. The bowl is decorated with further bronze double crescents, flanked by two circular inserts. The rim is also made of bronze and displays a perforation at each side to secure cheek pieces. Good condition; the item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Helmets like this one are found in small numbers throughout the Celtic world. Neither the Britons nor the Germans had helmets, writes Tacitus, but the Cimbri had helmets like the maws of frightful beasts or the heads of animals, with crests that made them look larger than they were (Plutarch, Marius XXV.2). Only in Italy, in the region of the Senones, have helmets similar to this one been found in great numbers, in a style named after the burial ground of Montefortino and characterized by a back peak to protect the neck and a top knob (Aldhouse-Green 1995, 43) - see, for instance, https://www.metmuseum.org/art/collection/search/684492?searchField=All&sortBy=Relevance&ft=celtic+helmet&offset=0&rpp=20&pos=1. Montefortino helmets were produced in the late 4th-early 3rd century BC in Etruria, and there is general scholarly consensus on the fact that they were probably inspired by Celtic prototypes such as our item. Aspects of the Celtic helmet designs were adopted in the Roman legionary helmet of the first century AD (Aldhouse-Green 1995, 44). To find out more about Celtic helmets and their evolution, see Aldhouse-Green, M. J. (1995). The Celtic world. London; New York: Routledge, 43-44.Size: L:140mm / W:245mm ; 1.7kg. Provenance: Property of a European collector, formerly acquired from Mr. J. Salz in 2014 in Dortmund, Germany.
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Ca. 1069-720 BC. Third Intermediate Period. A blue-glazed faience shabti of the priest Pa-Di-Khonsu on a modern stand. A short, black-glazed wig rests on the moulded face, while the mummiform body is adorned with a broad collar formed of concentric circles in raised relief, above a pair of arms crossed over the chest. The legs column is inscribed on the front with black-glazed hieroglyphs saying, 'The Osiris, the god's father of Amun, Pa-Di-Khonsu, justified'. The term 'the Osiris' is often attached to the deceased individual in Egyptian funerary literature, as part of a human's journey to the next life included merging with the god Osiris; similarly, the term 'justified' (or, more literally, 'true of voice') was a title used exclusively for the dead. That Pa-Di-Khonsu is given the title 'god's father of Amun' shows he was a high-ranking priest; the Third Intermediate Period began with a period of national divide in which the priesthood of Amun effectively ruled southern Egypt, having wrestled a great deal of power from the Crown. Even after the country was reunited, this priesthood continued in power and prestige. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:120mm / W:32mm ; 79g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 664-30 BC. Late Period - Ptolemaic Dynasty. A bronze statuette of Osiris on a modern stand. He wears an atef crown, plumed on each side with ostrich feathers and decorated on the front with a uraeus cobra. The modelled face also wears a false beard, and his mummiform body holds the signature crook and flail, crossed over his torso. This would have been given as a votive offering to a shrine or temple of the god in exchange for his favour. Osiris was the god of the underworld and renewal after death, but also of renewal in the physical world, like the regeneration of the crops after winter. Osiris' cult boomed in the 1st millennium BC, and this period saw a rapid increase in the number of bronze votives like this one given in exchange for anything from a fertile harvest to a pleasant afterlife. Size: L:140mm / W:35mm ; 91g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 664-332 BC. Late Period. A pale blue-glazed faience shabti on a modern stand. The head wears a lappet wig and a false beard, with detailed facial features modelled on the front. The figure is mummiform, and two incised hands emerge on the chest, holding an incised adze and hoe each (farming/irrigation implements). The front of the bound and mummiform legs and stomach is incised with a hieroglyphic inscription, saying, 'The illuminated one, the Osiris. The illuminated one, the Osiris'. The term 'the Osiris' is often attached to the deceased individual in Egyptian funerary literature, as part of a human's journey to the next life included merging with the god Osiris, so it here references the dead person more than the god. Similarly, the term 'the illuminated one' is typically attached to the deceased; it probably refers to how the deceased was also considered to merge with the sun god Ra at one point on their journey, juxtaposing their integrations with both Osiris and Ra. The name (of a person named Kheby) is written down the dorsal column on the rear. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze and how to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:70mm / W:13mm ; 10g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 100-300 AD. Roman. A beautiful unguentarium with a small bulbous body, a short cylindrical neck, and an annular rim. Excellent condition. Unguentaria, like alabastra in ancient Greece, were small jars used to store perfume or toilet oil in the Roman period. This type of unguentarium was dubbed by early archaeologists in the 19th century as a 'tear catcher' or 'lachrymatory' because it was believed to be a vessel used by mourners in funerary ceremonies to catch tears, but this myth has been debunked by modern chemical analysis, which revealed that these bottled in fact contained perfume or oils. To find out more about glass objects in the Roman world, Bayley, J., Freestone, I., & Jackson, C. (2015). Glass of the Roman World. Oxford And Philadelphia: Oxbow Books.Size: L:130mm / W:35mm ; 58g. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Ca. 860-650 BC. Urartian. A beautiful pair of gold bracelets made of gold wires tightly twisted around a copper core. The terminals are in the shape of snake heads decorated with elaborate coiled and circular motifs. Excellent condition. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. Urartu was an ancient kingdom of southwest Asia centred in the mountainous region southeast of the Black Sea and southwest of the Caspian Sea. Mentioned in Assyrian sources from the early 13th century BC, Urartu enjoyed considerable political power in the Middle East in the 9th and 8th centuries BC. From early in the kingdom's history, very characteristic artefacts were manufactured, including bronze belts along with shields, quivers, helmets, bells, jewellery, and ceramic and metal vessels of many forms. Many of these artefacts bear royal inscriptions and are decorated with characteristic motifs and scenes, which consist of various deities and composite otherworldly creatures, royal rituals, hunts, battles, and genre scenes. Urartu continued to produce beautiful works of art until it was destroyed in the second half of the seventh century BC by the Medes or the Scythians. To find out more about Urartu and its art production, see Merhav, R. (1991). Urartu: A Metalworking Center in the First Millennium B.C.E. Jerusalem: Israel Museum.Size: L: set of 2: 58mm, 59mm / W:72mm,75mm ; 76.5g. Provenance: Property of a London gentleman, part of his family collection formed in the 1980s-2000.
Ca. 100-300 AD. Roman. A beautiful gold ring with a circular band, flared shoulders, and an oval bezel set with large oval red carnelian intaglio depicting a winged infant on the left-hand side and a seated, bearded male figure with raised left arm holding thunderbolt on the right-hand side. Excellent condition; wearable. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. Thunderbolts are typically an attribute of the king of the gods, i.e. Zeus for the ancient Greeks and Jupiter for the Romans. The winged infant may be Eros (also known as Cupid). In Archaic Greek art, Eros was represented as a beautiful winged youth but tended to be made younger and younger until, by the Hellenistic period and Roman times, he was often depicted as an infant as we see in this instance. Roman rings were often embellished with intaglios, cameos and precious gemstones, and mythology and Roman history were used as a repertoire of decorative themes. For more information, see Higgins, R. (1980). Greek and Roman Jewellery. London: Methuen. Size: D: 20.02mm / US: 10 1/4 / UK: U; 6.2g. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.
Ca. 300-100 BC. Hellenistic. A matched pair of ancient Greek gold earrings with hoops made of coiled wires; the lion-mask finial features granulated and applied filigree detailing. Excellent condition. After Alexander conquered the Persian empire and seized its rich treasures in Babylon, vast quantities of gold passed into circulation. The market for fashionable gold jewellery exploded. Even after the reign of Alexander, his successors for centuries supported flourishing industries of artists and craftsmen, the most important of whom were associated with the Hellenistic royal courts. Excellent condition. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. For more information, see Hemingway, C., Hemingway, S. (2000) 'Hellenistic jewellery.' In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art.Size: L:20mm / W:20mm ; 5.8g. Provenance: Property of a North London professional; previously acquired on the UK/European art market in the 1970s.
Ca. 1550-1077 BC. New Kingdom. A golden amulet in the shape of a tilapia fish. Fish pendants were worn as jewellery and were braided into the hair. A particularly famous story involving a fish pendant comes from the Westcar Papyrus, in which a female rower drops her fish pendant into the water and grieves until a magician splits the lake in half with magic to retrieve the item - a tale that highlights the precious nature of these pieces. The tilapia was a favourite in Egyptian art, and as an animal, it was revered for the way in which the females protect their young. By swallowing their own eggs in order to protect them until they were ready to hatch, these mother fish mimicked the goddess Nut swallowing the sun each evening before birthing it each dawn, and thus the tilapia became a symbol of regeneration. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with gemmological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. Size: L:17mm / W:33mm ; 4.4g. Provenance: Private London collection; formerly in a 1970s French collection.
Ca. 400-300 BC. Late Classical/Hellenistic. A beautiful ancient Greek pendant comprising a ribbed amethyst bead perforated longitudinally with a gold suspension loop embellished with granulated decoration; the bottom is adorned by a gold sphere with filigree decoration in the form of a sun. Excellent condition; wearable. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase After Alexander conquered the Persian empire and seized its rich treasures in Babylon, vast quantities of gold passed into circulation. The market for fashionable gold jewellery exploded. Even after the reign of Alexander, his successors for centuries supported flourishing industries of artists and craftsmen, the most important of whom were associated with the Hellenistic royal courts. For more information, see Hemingway, C., Hemingway, S. (2000) 'Hellenistic jewellery.' In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Size: L:25mm / W:11mm ; 4g. Provenance: From the collection of a London gentleman; formerly acquired in the early 2000s in France; previously in 1970s European collection.
Ca. 100-300 AD. Roman. A restrung and fully wearable necklace made of a single string of white and blue glass beads and carnelian beads. Necklaces and bracelets were part of the feminine costume in the Roman world and some examples can be seen faithfully illustrated, for instance, in the female painted mummy portraits from Roman Egypt; ancient sculptures too sometimes show bejewelled women of the Roman period - see, for instance, the splendid series of carved reliefs from the city of Palmyra, in modern Syria. To find out more about Roman jewellery production, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. Size: L:280mm / W:105mm ; 14g. Provenance: Obtained on the London art market in the early 2000s; formerly from the collection of an English Family, by descents from the 1970s.
Ca. 300-100 BC. Hellenistic. A finely rendered matching pair of gold earrings, each formed from a circular wire hoop, which tapers towards one end and features a miniature depiction of Eros (Cupid for the ancient Romans), the Greek and Roman god of love. The figure of the winged child-Eros is crafted with hands on his hips and a sash across his chest. The sash, presumably used so he can carry his quiver, is the usual attribute of Eros on Greek jewellery and artistic production and has been here rendered through a series of gold granules. A small daisy-like flower rests just above Eros' head. Daisy-like ornaments and fillers were a popular decorative motif seen on many examples of fine Hellenistic jewellery. Excellent condition. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with gemmological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. For a similar pair of Hellenistic earrings, see https://www.christies.com/en/lot/lot-4266557.Size: L:20mm / W:20mm ; 4.8g. Provenance: Property of a North London gentleman; previously acquired on the UK/European art market in the 1980s.
Ca. 900-1100 AD. Viking Age. A large bronze amulet with a cylindrical body and three loops to the lower edge, each with a figure-of-eight coiled loop and webbed-foot pendant. Jewellery was an important part of the Viking culture, for men and women alike. Contrary to modern ideas of the Vikings, historical chroniclers like the English monk John of Wallingford recorded that the Vikings took great interest in their physical appearance. Moreover, jewellery was used as a status indicator, so precious materials and elaborate designs were favoured. To find out more about the Vikings and their art, see Graham–Campbell, J. (2013). Viking Art. London: Thames and Hudson Ltd.Size: L:65mm / W:30mm ; 28.5g. Provenance: Obtained on the London art market in the early 2000s; formerly from the collection of an English Family, by descents from the 1970s.
Ca. 200-400 AD. Late Roman. A wearable gold ring with an applied Roman oval bezel set with a cabochon garnet gem and a possibly later circular band decorated with parallel grooves. Excellent condition. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. As in many ancient societies, jewellery was an important social marker used to demonstrate wealth in ancient Rome. As a result of the expansion of the Roman Empire, jewellery became more and more elaborate in its designs and materials used, such as precious and semi-precious gemstones. Roman jewellery often reflected the culture the Romans came into contact with and can be viewed as a testament to the prosperity and power of the Roman Empire. The most popular type of Roman jewellery were rings, as Romans of Imperial times enjoyed to wear large rings, extravagantly decorated with cameos or engraved precious stones. From the Roman Republic onwards, it became customary for all the senators, chief magistrates, and the equites to wear gold rings, known in Latin as 'annuli aurei', as a way to distinguish themselves from the plebeians. To find out more about Roman rings, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. Size: D: 23.47mm / US: N/A / UK: Z +4; 5.8g. Provenance: Property of a North London professional; previously acquired on the UK/European art market in the 1990s.
Ca. 100-300 AD. Roman. A beautiful gold ring with a circular band, flared shoulders, and bezel decorated finely incised intaglio depicting a scene: a human seated figure under a tree on the right-hand side faces a coiled serpent on the left-hand side. Excellent condition; wearable. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. Roman rings were often embellished with intaglios, cameos, and precious gemstones. Mythology and Roman history were used as a repertoire for decorative themes. Roman rings featuring carved gemstones, such as carnelian, garnet or chalcedony, were often engraved with the depiction of deities, allegories, and zoomorphic creatures. Rings were also modelled in the shape of snakes, a popular form of jewellery deriving from Hellenistic culture. To find out more about Roman rings and jewellery production, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. Size: D: 21.9mm / US: 12 1/2 / UK: Z; 35.1g. Provenance: Property of a North London gentleman; previously acquired on the UK/European art market in the 1980s.
Ca. 100-300 AD. Roman. A beautiful gold ring featuring a circular band, flared shoulders, and a large oval bezel set with a garnet gemstone featuring a finely incised intaglio depicting a beast in left profile. Excellent condition. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. Roman rings featuring carved gemstones, such as carnelian, garnet or chalcedony, were often engraved with the depiction of deities, allegories and zoomorphic creatures. Mythology and Roman history were used as a repertoire of decorative themes. To find out more about Roman rings and jewellery production in general, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. Size: D: 17.1mm / US: 6 3/4 / UK: N 1/2; 4.4gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Ca. 618-907 AD. Chinese Tang Dynasty. A beautiful pottery figure of a prancing horse. The spirited horse is shown with left foreleg raised, red mane swept to one side, mouth open and ears laid back. The tail is depicted docked and bound in the traditional fashion. Traces of red colour are visible on the hooves. The saddle is covered with a red cloth draped over the saddle and gathered on the sides. Below the saddle, there is a cloth decorated with a blue and red floral design. The horse's trappings are completed by an elaborate harness with dangling tassels on the horse's croup. War horses were the pride of the Tang, a dynasty of prosperity, military expansion and artistic achievement. In 667 AD, Tang dynasty statues declared the ownership of horses as an aristocratic privilege, forbidding artisans and tradesmen the right to own horses. The Emperor Xuanzong, for instance, displayed great passion for his mounts commissioning paintings from the famed artist Han Gan (c. 706-783 AD). In the Lidai minghua ji ('Record of famous painters of all periods'; 847), Zhang Yanyuan noted that Emperor Xuanzong 'loved large horses and ordered Han to paint the most noble of his more than 400,000 steeds'. It is easy to speculate that Han Gan's distinctive style which captures the animals in spirited movement, emphasizing their powerful, rounded and muscular forms while retaining an easy naturalism, influenced the artisans who sculpted the present horse. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. For more information on the importance of horses in China, see Cooke, B. (ed.) (2000). Imperial China- The Art of the Horse in Chinese History: Exhibition Catalogue. Kentucky Horse Park, Lexington. For more general information on the Tang Dynasty, see Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art.Size: L:520mm / W:475mm ; 8.35kg
Ca. 618–907 AD. Chinese Tang Dynasty. The elegant figure stands on a flat, shaped base, with the head turned slightly to the side and her hands held up, away from the body and within the draped sleeves. In one hand, she holds a pomegranate-shaped item. Her red, green, light blue and white long robes fall in heavy folds that emphasize the graceful sway of her body. A flowery motif in a red-colour palette adorns the bottom part of her robe. The face is sensitively modelled with full rosy cheeks, a small mouth and elongated eyes, and is framed by an elaborate coiffure drawn up into a central chignon. This stately, elegant figure exemplifies the ideal standards of beauty and fashion that prevailed during the high Tang period of the 8th century in China. During this period, a more voluptuous body type had become fashionable, which was reflected in women's robes being long and loose-fitting, and their hair was worn in fuller hairstyles that framed the face. Other painted pottery figures representing this type of court lady are illustrated in The Quest for Eternity—Chinese Ceramic Sculpture from the People's Republic of China, Los Angeles County Museum of Art, 1987, pp. 139-40, nos. 83-84, and col. pl., p. 56. Several paintings on silk, from Turfan, of women that are similar in type to the present figure, depict them with pink cheeks, to indicate the use of rouge, which is seen on the full cheeks of the present figure (see The Ancient Art in Xinjiang, China, 1994, pp. 86-7, pls. 210, 213 and 215). The type of hairdo and stance of the present lady can be seen on a slightly smaller figure (53.4cm.) illustrated in Mayuyama, Seventy Years, Tokyo, 1976, vol. I, p. 67, no. 178. For a similar figure sold at Christie’s, see https://www.christies.com/lot/lot-1587630. For more general information on the Tang Dynasty, see Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:490mm / W:199mm ; 4,8 kg. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 202 BC-220 AD. Han Dynasty. Two large grey earthenware figures of dancers. The elegant clothing comprises flowing, long-sleeved robes decorated with red inserts on the neckline and sleeves. The figures retain most of the original white slip and there is additional decoration in red and black to show the facial features and the hair, which is tied with a hair band between the shoulders. The potters have succeeded in imparting a vibrant sense of fluidity, displaying realism in the stance and adding movement and dimension by the curves of the long draped sleeves. The Han dynasty is the second great imperial dynasty of China (202 BC-220 AD), after the Zhou dynasty (1046-256 BC). It succeeded the Qin dynasty (221-207 BC). So thoroughly did the Han dynasty establish what was thereafter considered Chinese culture that "Han" became the Chinese word denoting someone who is ethnically Chinese. The cultural milieu of the Han dynasty is well documented and we know, for instance, that they were patrons of music and that, in temple rituals, dance was often an important element. To find out more about the Han dynasty and its material culture, see Miller, A. R. (2021). Kingly Splendor: Court Art and Materiality in Han China. New York: Columbia University Press. For more information on dancing in Han dynasty China, see Zhi Dao. History of Dance in China, Ch. 4. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L: Set of 2: 450mm / W:370mm ; 8.35 kg. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 386-534 AD. Northern Wei Dynasty. A finely hollow-moulded terracotta horse statuette. The horse is finely modeled with a graceful, arched neck and a small, tapered head crisply detailed with flared nostrils, open mouth, and pricked ears. The chest is spanned by a tassel-hung strap, and the rump is protected by leather strapwork armor hung with foliate tassels. The back is draped with a red cloth with fringed ends set atop a flared mud guard combed with markings in imitation of fur. There are extensive traces of red pigment. The Wei dynasty was the longest-lived and most powerful of the northern Chinese dynasties that existed before the reunification of China under the Sui (581-618 AD) and Tang (618-907 AD) dynasties. For a similar Northern Wei dynasty terracotta horse, see https://www.bonhams.com/auctions/14759/lot/171/. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. For more information on the importance of horses in China, see Cooke, B. (ed.) (2000). Imperial China - The Art of the Horse in Chinese History: Exhibition Catalogue. Kentucky Horse Park, LexingtonSize: L:410mm / W:320mm ; 3.1kg. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 202 BC-220 AD. Han dynasty. A hollow-formed terracotta rabbit figurine with a black pelt and coral-pink pigmentation on the nose and in the inner ears. The rabbit is depicted sitting back slightly on its back legs in an alert posture. In the Chinese tradition, the rabbit is the luckiest of animals and symbolises elegance, beauty and mercy. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. Good condition. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. For more information about the Han Dynasty, see Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of Art. Size: L:255mm / W:230mm ; 2.45kg. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 202 BC-220 AD. Han dynasty. A hollow-formed terracotta rabbit figurine with a white pelt and coral-pink pigmentation on the nose and in the inner ears. The rabbit is depicted sitting on all fours. In the Chinese tradition, the rabbit is the luckiest of animals and symbolises elegance, beauty and mercy. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. Good condition. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. For more information on the Han Dynasty, see Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of ArtSize: L:280mm / W:147mm ; 2.31kg. Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Ca. 3100-2500 BC. Bactrian. A fine Bactrian alabaster vessel, featuring a flat foot, a slightly bulbous body with the sides slightly flaring outwards terminating at a flared rim. It has a beautiful cream colour, with greyish veins running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as column or circular idols, these are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system. It was one of many economic and social entities in the vicinity and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India, and the Arab States, amongst others. Many stone carvers inhabited the regions of Margiana and Bactria and there was no shortage in raw material - soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi-precious lapis-lazuli, was in Bactria, at Badakhshan (now north-western Afghanistan), which provided material not only for the Bactrian and Margian carvers but also, further to the west into Mesopotamia, for the Assyrian kings. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Size: L:110mm / W:145mm ; 1.32kg. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Ca. 3100-2500 BC. Bactrian. A fine conical Bactrian alabaster vessel, standing on a narrow flared foot. It has a beautiful cream colour, with greyish veins running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as column or circular idols, these are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system. It was one of many economic and social entities in the vicinity and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India, and the Arab States, amongst others. Many stone carvers inhabited the regions of Margiana and Bactria and there was no shortage in raw material - soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi-precious lapis-lazuli, was in Bactria, at Badakhshan (now north-western Afghanistan), which provided material not only for the Bactrian and Margian carvers but also, further to the west into Mesopotamia, for the Assyrian kings. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Size: L:85mm / W:99mm ; 230g. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Ca. 100-300 AD. Gandharan. A schist stone torso of a Buddha. He is depicted wearing a flowing robe and a topknot (ushnisha). He is characterised by his arched brow, heavily lidded, half-closed eyes, a bulbous nose, full lips, rounded chin and large, pendulous ears. He is backed by a circular halo. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (ca. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. For more information on Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Size: L:225mm / W:190mm ; 3.1kg. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Ca. 323 BC-395 AD. Graeco-Roman Period or later. A marble head of a woman on a modern stand. This elegant piece principally uses the Classical style. Her wavy hair is centrally parted and drawn to the sides in typical style of this period, except for a slight fringe falling downwards as well. There is a breakage on the neck where this would have been attached to a larger statue or bust. It may represent a Ptolemaic queen. Many of these queens received royal cults and were deified as a way of ingratiating the people to the Macedonian royal family. These cults sought to promote the queens to both Greek and Egyptian audiences, and many images of these women were created as a result. Marble was not used in Egypt before the Graeco-Roman Period, but after the conquests of Alexander the Great, Egypt produced art of Egyptian styles, Greek styles, and styles that incorporated the two - this also meant using materials common in the Greek style, including marble imported from the northern Mediterranean.Size: L:without stand, 155mm / W:115mm ; 2.5kg. From a London private family collection; formerly acquired on the UK art market in the 1960s - 1970s; thence by descent.
Ca. 100-300 AD. Roman. A beautifully preserved, hammered silver vessel with a plain rim and an interior surface decorated with an incised ring of small circles. Good condition. The acquisition and appreciation of silver vessels was almost a cult in Rome. Weights were recorded and compared and ostentatiously exaggerated. Large quantities of bullion came to Rome with the spoils of Greece and Asia in the 2nd century BC, and the scholar Pliny the Elder (1st century AD) says that even in Republican times there were more than 150 silver dishes of a hundredweight apiece in the city. Many rich hoards in modern collections were buried by design during the calamitous last centuries of the Roman Empire. The most sumptuous hoard, i.e. the Boscoreale treasure (in the Louvre), was accidentally saved by the same volcanic catastrophe that destroyed Herculaneum and killed Pliny in 79 AD. Cf. Edgar John Forsdyke's contribution to the 'Roman metalwork' section for Britannica; https://www.britannica.com/topic/metalwork/Greek-and-Etruscan; Edgar John Forsdyke was Director and Principal Librarian, British Museum, London, 1936-50; Keeper of Greek and Roman Antiquities, 1932-36. Size: L:30mm / W:145mm ; 150g. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 664-332 BC. Late Period. A pale blue-glazed faience shabti on a modern stand. The head wears a striated lappet wig and a false beard, with exquisitely detailed facial features modelled on the front, ears peeking out in front of the wig. The figure is mummiform, and two hands emerge at the sides of the chest, holding an adze and hoe (farming/irrigation implements) vertically. On the back, an incised rendering of a seed bag is slung over the left shoulder, and a dorsal column runs down the rear. The front of the body contains faint traces of a column of black-glazed hieroglyphs, now mostly vanished and illegible. This inscription would probably have included the name and some titles of the tomb-owner. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze, a hoe, and a seed bag to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:160mm / W:50mm ; 102g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 664-30 BC. Late Period - Ptolemaic Dynasty. A bronze statuette of Osiris on a modern stand. He wears an atef crown, plumed on each side with ostrich feathers and decorated on the front with a uraeus cobra. The modelled face also wears a false beard, and his mummiform body holds the signature crook and flail, crossed over his torso. This would have been given as a votive offering to a shrine or temple of the god in exchange for his favour. Osiris was the god of the underworld and renewal after death, but also of renewal in the physical world, like the regeneration of the crops after winter. Osiris' cult boomed in the 1st millennium BC, and this period saw a rapid increase in the number of bronze votives like this one given in exchange for anything from a fertile harvest to a pleasant afterlife. Size: L:210mm / W:53mm ; 232g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 664-332 BC. Late Period. A pale blue-glazed faience shabti on a modern stand, with a reddish-brown colouring over the upper half of the front. The head wears a lappet wig and a false beard, with detailed facial features and ears modelled on the front. The figure is mummiform, and two incised hands emerge on the chest, holding an incised adze and hoe each (farming/irrigation implements). On the back, an incised rendering of a seed bag is slung over the left shoulder, and a dorsal column runs down the rear. The front of the bound and mummiform legs and stomach is incised with a column of hieroglyphs, saying the formulaic 'the illuminated one, the Osiris. The illuminated one, the Osiris'. The first iteration of the phrase is clear against the red section, while the repetition on the blue section is fainter. The term 'the Osiris' is often attached to the deceased individual in Egyptian funerary literature, as part of a human's journey to the next life included merging with the god Osiris, so it here references the dead person more than the god. Similarly, the term 'the illuminated one' is typically attached to the deceased; it probably refers to how the deceased was also considered to merge with the sun god Ra at one point on their journey, juxtaposing their integrations with both Osiris and Ra. There is no name given on this shabti, suggesting it might have been produced for a non-specific buyer, with the intention of adding the name of whoever bought it later onto the blank dorsal column. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze, a hoe, and a seed bag to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:120mm / W:35mm ; 55g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
ROY SMITH (R.W.A. Wedgwood sculptor). Signed, dated 1952, Art Deco style painted plaster sculpture, man in chains standing on rocks, approx. height 102cm, with newspaper clipping reproduction ‘servant to the modern world of mechanism’. Provenance: Passed down through the sculptors family. IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.
* Sleigh (Bernard, 1872-1954). The Crucifixion: A Triptych, 1929, tempera on board, heightened with gold, on three separate panels, with inscription at the foot of the cross Ad Majoram Dei Gloriam Bernard Sleigh 1929 (the date rewritten over a date in roman numerals which are no longer legible), fine Arts & Crafts patinated copper frames, each with gothic arched form, and gilt pictorial roundels above, integral connecting hinges, overall size including frame 81.5 x 103 cm (32 x 40.5 ins)Qty: (1)NOTESProvenance: Private Collection, Cotswolds, UK. This important work is an exhibition version, on a reduced scale, of the crucifixion triptych painted by Bernard Sleigh in 1906 for the chapel at Holloway Prison, London. Commisioned from the artist by the aristocrat, spiritualist and reformer Edith Lyttelton, the original oil on canvas, measuring 84 by 32 inches, was purchased by Brigham Young University Museum of Art in 2005. The work depicts Christ as a model of human perfection, with a heavenly host of angels above, and figures from modern life in attendance below, including a knight, old man, judge, prisoner, king and bishop. The shepherd looking out below the right hand of Christ is understood to be a self-portrait of the artist, whose wife and two children are also included on the far right of the composition. Literature: Roger Cooper, Bernard Sleigh, artist and craftsman, 1872-1954, Journal of the Decorative Arts Society 1850 - the Present, number 21, 1997, pages 88-102. The present work is illustrated as figure 4 on page 93.
* Pemberton (Muriel Alice, 1909-1993). Flower Still Life, gouache & pastel on wove, signed lower right, few short repaired closed tears to edges (hidden under window mount), 72 x 59.4 cm, modern white frame, glazed (87 x 70.5 cm)Qty: (1)NOTESMuriel Pemberton and the fashion & textile designer Zandra Rhodes were acquaintances and both alumni of the Royal College of Art. Muriel was awarded the first ever diploma in fashion from the RCA and immediately became the first Head of Faculty of Fashion and Design at St Martins School of Art. She taught Zandra Rhodes and Bruce Oldfield amongst other well known designers at St Martins where she held a unique position. She later moved to Hastings where she worked avidly in retirement. Muriel (like Zandra Rhodes) was famous for her use of bright colours, particularly cobalt blue which was also much used by Zandra.
52 Various FDC with Stamps and FDI Postmarks, Including Modern University Buildings 1971, Post Office Technology 1969, Big Stars from the Small Screen 1996, Commonwealth Heads of Government Meeting 1977, Nobel Prizes (Typed Address) 2001, Ocean Liners 2004, Inland Waterways 1993, Roman Britain 1993, Tales of Terror 1997, 2 x Science Fiction (Different Postmarks) 1995, Commemorating the Millionth New Ford Escort 1982, Roses 1991, Dinosaurs 1991 Cats 1995, RSPCA 1990, Kew Gardens 1990, Dogs 1991, Urban Renewal 1984, Art in the 20th Century 1992, Camel Mail Re-enactment 1981, Scientific Achievements 1991, Sherlock Holmes 1993, Sailing 1975. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Breon O'Casey (British, 1928-2011)Lost Hedge signed, titled and dated 'Breon O'Casey./Lost hedge/MMIII' (on board verso)oil on board34.5 x 46cm (13 9/16 x 18 1/8in).Footnotes:ProvenanceWith Jon Grimble Modern Art, St Ives, where acquired by the present owner in 2008Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Eliot Hodgkin (British, 1905-1987)Roses bears added signature 'Eliot Hodgkin' (upper left)oil on panel40.5 x 37.5cm (15 15/16 x 14 3/4in).Painted circa 1936with a further oil portrait of a man, on the reverse, by the same handFootnotes:ProvenanceWith The Fine Art Society, London, October 1963Sale; Sotheby's, Olympia, 4 July 2002, lot 265Private Collection, U.K.ExhibitedPossibly London, Picture Hire Ltd, Exhibition of Paintings by Eliot Hodgkin, 1-24 October 1936, no. 12We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, Montpelier Street, Knightsbridge, London, SW7 1HH, or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Glasse (Hannah). The Art of Cookery, Made Plain and Easy; Which far excels any Thing of the Kind yet published... In which are included, One Hundred and Fifty new and useful Receipts, not inserted in any former Edition. With a copious Index. New edition. With all the modern Improvements; And also the Order of a Bill of Fare for each Month; the Dishes arranged on the Table in the most fashionable Style, London: T. Longman, B. Law, J. Johnson, et al., 1796, facsimile signature "H. Glasse" printed on p.1, half-title with repaired closed tears and torn lower outer blank corner, initial two contents leaves with repaired closed tears, final leaf slightly frayed to fore-margin, some light toning and minor spotting, later endpapers, contemporary sheep, rebacked, dark green morocco title label to spine, board corners worn and showing, 8vo, together with: Bitting (Katherine Golden), Gastronomic Bibliography, facsimile reprint of 1939 San Francisco edition, London: Holland Press, [1981], original green cloth, 4to (limited edition 447/500)Qty: (2)NOTESGlasse - Cagle 706; Maclean, p.60; Oxford, p.77 in note; Schraemli (1) 210; Simon BG 771; Wheaton and Kelly 2418.
Richardson (Jonathan). Two Discourses. I. An essay on the whole art of criticism as it relates to painting. II. An argument on behalf of the science of a connoisseur; Wherein is shewn the dignity, certainty, pleasure and advantage of it, 1st edition, London: Printed for W. Churchill at the Black Swan in Pater-Noster-Row, 1719, endpapers renewed, marginal staining to preliminaries, Battersea public library stamp on several leaves, modern quarter calf, 4toQty: (1)
Art. A collection of art & miscellaneous reference, including Antique Boxes - Inside and Out..., by Genevieve Cummins, 1st edition, London: Antique Collectors' Club, 2006, large 4to, Lucy Kemp-Welch 1869-1958, The Spirit of the Horse, by Laura Wortley, 1st edition, London: Antique Collectors' Club, 1996, large 4to, mostly original cloth in dust jackets, G/VG, 8vo/oblong folio, together with 2 19th century hand-coloured maps, 'Environs of Bath and Bristol' & 'A Modern Map of Dorsetshire', both framed & glazedQty: (3 cartons)
Cohen (John). Past Present Peru: Photos, Music, Films, 1st edition, Göttingen: Steidl, 2010, numerous colour & monochrome illustrations, publishers original binding, 'as new' in un-opened original cardboard packaging, folio, together with; Smyth (David R.), David R. Smyth, essays by Lily Wei, Marc Le Bot, Dieter Bogner, 1st edition, Lausanne: Acatos Publisher, 2000, numerous colour illustrations, publishers original cloth in dust jacket & slipcase, 'as new' in original plastic wrap, folio, plus, Stern (Robert A. M. et al), New York 1960, Architecture and Urbanism Between the Second World War and the Bicentennial, new edition, Honhenzollernring: Taschen, 1997, numerous monochrome illustrations, original cloth in dust jacket, large 4to, and other modern art reference & related, including publications by Yale, Taschen, Royal Academy of Arts, some original cloth in dust jackets, some paperback editions, some 'as new' in original plastic wrap, VG, 8vo/folioQty: (3 shelves )
Royal Dux Art Nouveau porcelain dressing table mirror modelled as a girl taking off her shoes with a shallow organic design naturalistic dish, shape no. 822 with pink triangle mark. 36.5cm high approx. Together with two modern Royal Dux porcelain plaques. (3)(B.P. 21% + VAT) The mirror has been replaced. Corner of the shallow dish appearing to have been damaged at some point. Otherwise no obvious damage noted.
A coconut-shell saya (sheath) three-case inroBy Morimitsu, 19th centuryThe saya carved with two panels, each bearing a geometric ground, one carved in low relief with Shoriken crossing the sea on his sword, the other with Tobosaku holding a peach, a deer at his side, the inner three-case inro carved in low relief with a continuous mountainous lake scene, the interior lacquered black, signed Morimitsu; with a coral ojime and a modern turned-wood manju netsuke. 7.3cm (2 7/8in) high.Footnotes:リザーブ設定無し東方朔に鐘離權図椰子殻彫鞘印籠 銘「盛光」 19世紀Provenance: Raymond Bushell collection, sold at Sotheby's, London, 1966, purchased from D. J. K. Wright following the sale.Wrangham collection, no.644.Published: George Lazarnick, Netsuke and Inro Artists and How To Read Their Signatures, Honolulu, Hawaii, 1982, p.799.E. A. Wrangham, The Index of Inro Artists, Harehope, Northumberland, 1995, p.184, Morimitsu, right column, bottom.The Edward Wrangham Collection of Japanese Art: Part V, lot 217.www.bonhams.com/auctions/20555/lot/217/Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
A BOX OF SUNDRY ITEMS, to include modern steepletone wall mounted phone 'Classic Museum Series', resin sculls (dinosaurs), modern ornamental pistols, modern tribal fly swat, art book 'Wright of Derby' photographic chemicals, late 45's and 78rpm records to include David Whitfield, Michael Holiday, Tommy Steele, etc
Sir Ray Lankester, Science From an Easy Chair, seventh edition July 1913, Henry Frith, The Triumphs of Modern Engineering, Half Hours in Many Lands, London 1898, Grace Darling the Heroine of the Farne Islands, published London 1875 by Adam & Co. An Historical Miscellany of the Curiosities and Rarities in Nature and Art, Yonge's English-Latin Dictionary (6)
1962 Jaguar E-Type Series I Fixedhead Coupé (3.8 litre) Transmission: manualMileage:645232021 marks the 60th anniversary of the iconic Jaguar E-Type. Launched at the Geneva Motor Show in 1961 the car was nothing short of a revelation. The visionary design from Malcolm Sayer was based on Jaguar’s Le Mans winning D-Type racing car and combined beauty, high performance, and competitive pricing. This new model featured disc brakes, rack and pinion steering and independent front and rear suspension. The overall package created one of the most famous cars of all time and spurred industry wide changes.This stunning UK supplied right hand drive Series I Coupé was registered in March 1962 and is one of the first 250 E-Types produced. The car presents beautifully in Old English White and its authentic bucket seats are trimmed in contrasting black leather and are complemented by an aluminium dashboard. This exceptional, low mileage, Moss gearbox, example benefitted from a photographic restoration in 2000 and has enjoyed a no expense spared ownership since with recent works including a stainless steel exhaust, new windscreen, new doors, new rear arches and the fitment of floor panels where required and a bare metal respray. Following a restoration in 2000, this Series I has covered less than 3000 miles, and never in the rain! The shut lines are good and the underside of the car is clean. During the five year tenure of our vendor this rare Jaguar has covered less than 150 miles. The low mileage appears to be confirmed by the comprehensive MoT history. It could be said that it has been enjoyed more as a piece of art than a car but that puts it in good company as there is a Series I on display in the New York Museum of Modern Art. Regardless of the recent low usage, OJC 433 has been fully maintained annually by renowned Jaguar specialist, Alan Collins and despite its exempt status will have a fresh MoT test certificate. The history file for this wonderful car is as you would expect and contains various bills and receipts, a V5C registration document, the original owner’s manuals and sales brochure, a service manual, Heritage Certificate and the original and rare paperwork wallets. The accessories list is as impressive and includes a Shelly Jack, a toolkit, a spare wheel and wheel removal tools. Housed in a dehumidified garage under a bespoke car cover, this is one of the best examples we have offered. With an insurance value of £150,000 we also think that the estimate is as attractive as the car. Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
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