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Lot 188
A striking contemporary painting on a custom-cut wood panel, featuring a bold, street art-inspired composition. This visually arresting piece showcases a grotesque, surreal face with exaggerated features, rendered in vibrant hues of green, pink, yellow, and black. The subject's wide-open mouth and piercing gaze create an intense, almost psychedelic effect, with a brain-like form appearing in the eyes and mouth, adding an element of surrealism and psychological depth. Executed with thick, expressive paint application, the work exhibits a raw, graphic quality reminiscent of underground comic book aesthetics and pop-surrealist influences. The irregularly shaped panel enhances the artwork's three-dimensional presence, making it an eye-catching statement piece.Issued: c. 2000Dimensions: 23"L x 38"HCountry of Origin: USACondition: Age related wear.
Lot 280
A striking mixed-media artwork on wood panel by artist Stone Henge, titled Spring Equinox. This textured composition incorporates metallic gold, silver, and black elements, forming an abstract architectural structure reminiscent of ancient megalithic monuments. A central silver-toned section is punctuated by a bold red circle, evoking celestial symbolism, possibly referencing the sun at the equinox. The intricate layering and high-relief texture create a dynamic interplay of light and shadow, enhancing the metallic sheen. Signed and titled on the verso, this piece is a compelling example of contemporary abstract mixed-media work.Artist: Stone Henge (20th-21st century)Issued: 21st centuryDimensions: 30"L x 36"HCondition: Age related wear.
Lot 58
Cetas: A bi-coloured gem-set bangle The hinged bangle, centrally set with a rectangular panel featuring a circular cabochon ruby within a calibre-cut sapphire surround and a pierced number 19, the dimpled bangle overlaid with two Roman numeral IV, within a textured border, signed Cetas, inner diameter 6.0cm Cetas, founded in 1974, is one of Turkey's most established jewellery brands specialising in fine gold and silver jewellery.
Lot 86
AN INDIAN EMBROIDERED CREAM-COLOURED PASHMINA WOOL ROBE Kashmir, North India, early 20th centuryWith a flowing and flared A-line profile, the undyed and unbleached pashmina ground of twill weave, the back panel, edges, cuffs, hems finely worked in polychrome wools with intertwined buti (paisley leaves), the front with six pairs of looped metal thread frogging and brass spherical buttons, the inner front, pockets’ edges and cuffs of bias-cut puce silk, lined in cream-coloured silk, interlined in white cotton.133cm long from the nape 133cm long from the nape Qty: 1
Lot 111
AN ARCHAISTIC SAFAVID-REVIVAL MURAQQA' FOLIO WITH A YOUTH IN A GARDEN Qajar Iran, 19th centuryOpaque pigments heightened with gold on paper pasted on board, depicting a slender youth standing by a tree, clad in Safavid fashion, the white turban held with a colourful band, the long sleeved mauve tunic lined in orange, the sash tied to the side, wearing heeled white shoes, gold cloudbands in the sky, framed within vertical borders of black ink Persian nasta’liq calligraphy (extracts from Jami’s Haft Awrang, Yusuf o Zulaikha), and horizontal borders of hemistiches extracted from the Bustan of Sa’di in fine black ink Persian nasta’liq script, interspersed by illuminated cartouches, set in blue and gold outer borders, the album (muraqqa') folio designed in a typical archaistic Safavid style beloved in the Qajar period.The central panel 17.2cm x 9cm, 34.5cm x 24.5cm including the borders 34.5cm x 24.5cm including the borders Qty: 1
Lot 170
AN ENGRAVED BRASS HINDU ALTARPIECE OF THE MONKEY GOD, HANUMAN Possibly South India, 18th - 19th centuryMade of three different sections, comprising a stepped square pedestal, surmounted by the icon (murti) of Hanuman, the Hindu God of Wisdom, Courage, and Self-Discipline, holding his hands in prayer, standing over a stylised lotus base, with a five-headed naga snake hovering over him, and a typical altarpiece panel with flaming arch at the back with mythical makaras breathing fire on each side, and a kirtimukha mask at the top of the ogival arch, the architecture imitating a temple setting, most probably used an altarpiece in a private home.28.5cm x 16.5cm x 8.5cm 28.5cm x 16.5cm x 8.5cm Qty: 3
Lot 196
λ A PERUVIAN POLYCHROME FEATHERWORK TABARD FRAGMENT WITH ANIMAL MOTIFS Chimú or Inca Peru, South America, circa 14th - 16th centuryThe rectangular fragment most probably once part of a larger Peruvian tribal tabard garment, made of polychrome bird feathers tied into knots and then knotted directly onto an off-white coarse cotton ground, the feathers prominently in the tones of orange red, light yellow, iridescent teal blue, and brown, the upper section featuring two rows of stylised animals with claws and big fangs, the lower section monochrome, mounted on a cream-coloured cotton canvas in a Perspex casing.The panel 77cm x 43.5cm, 99.5cm x 64.3cm including the frame Provenance: Gifted from the Peruvian Ambassador to the parents of the present vendor in 1968 and in a private UK-based collection since. Exhibited and Published: Juan de Lara, Mestizaje and Craftsmanship in the Viceroyalties of America, Series 'Sumando Historias' of the Museo de America of Madrid, 4 April 2024. The fascination for exotic birds' feathers and their incorporation into artworks, whether in the form of textile panels, totems, adornments, or headdresses, are certainly not only prerogatives of South American civilisations. That said, in the specific case of Peru, featherwork certainly reached an unparalleled high level of complexity and impressive quality during the Chimú (ca. 1000 – 1470) and Inca (1430–1534) periods, as attested by the intricate string system with which the feathers were attached to the tabards. This technique was so elaborate and time-consuming that it is occasionally referred to as 'feather mosaic' (Christine Giuntini in Heidi King, Peruvian Featherworks: Art of the Precolumbian Era, MET, 2012, p. 94). Throughout the 16th century, Spanish and European conquistadors and explorers of the Americas wrote with admiration of the exotic objects they saw on their travels, among them not only clothing and textiles, but also weapons and objects often made of or embellished with rare and precious feathers of birds (Heidi King, Peruvian Featherworks: Art of the Precolumbian Era, MET, 2012, p. 9). Considered symbols of high status, they soon became prized ethnographic possessions, and later entered many important international museum collections. In terms of comparables, our tabard panel presents compositional and manufacturing similarities to another fragmentary panel attributed to Chancay or Ichma Peru, dating 13th - 15th century, in the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Ethnologisches Museum (acc. No. VA 660300) (ibidem, p. 33, fig. 21) and another Chimú panel with birds and wave motif, 13th - 15th century, in the Museo Amano, Lima (inv. 7512) (ibidem, p. 118). As far as the decoration goes, birds or animals mixed with running scroll or wave motif were seen on many tabards of the 13th - early 16th-century period, as well as in a variety of other mediums ncluding architecture, ceramics, metalwork. The later dating pieces tend to showcase more abstract and stylised creatures, like the present lot, making species identification difficult. λ This item may require Export or CITES licences in order to leave the UK. It is the buyer's responsibility to find out and conform to the specific export requirements of their country and ensure that lots have the relevant licences before shipping. The panel 77cm x 43.5cm, 99.5cm x 64.3cm including the frame Qty: 1
Lot 118
TWO QUR’ANS: A QAJAR MANUSCRIPT AND AN OTTOMAN PRINTED BOOK Iran and Ottoman Provinces, respectively dated 1287 AH (1870 AD) and 1329 AH (1911 AD)Comprising an Arabic manuscript on lined paper, with 14ll. of black ink naskh script to the folio, aya markers as gold roundels, with full diacritics and vocalisation, interlinear corrections and notes in red ink, some marginal notes in gold, the opening bifolio with typical Qajar manuscript illumination in polychromes and gold, with cusped arches at the top of the text panel and elaborate fretwork bands with zigzag motif, the first two sura openings in cusped golden cartouches on cobalt blue ground with polychrome floral sprays, the text reserved against gold cloud bands, the remaining sura heading in gold ink, the fly-leaves with notes in a different hand at the end of the text, in a dark red morocco binding; and an Arabic printed book on pressed paper, with 15ll. of black ink printed naskh script, rosette as verse markers, the opening bifolio with a stylised chromolithographed 'carpet page' design in red and green, the colophon with an oval cartouche of text bearing information and the date of the publication, with two stamps, one dated 1318 AH, earlier than the supposed date of publication, in a detached dark brown tooled morocco leather binding.The manuscript 17.5cm x 10.2cm the folioThe printed book: 20.5cm x 13cm the page Qty: 2
Lot 123
A LARGE HIMALAYAN PERAK HEADDRESS AND NECKLACE SET WITH TURQUOISE, RED AGATE AND CORAL BEADS Ladakh, Himalayan foothills, Jammu and Kashmir State, Northern India, mid to late 20th centuryThe elongated, tapering strip of red coarse cotton sewn with a multitude of round-shaped beads, including large turquoise beads at the top decreasing in size as they approach the headdress's tail, and three oval red agate gems set in silver bezel embellished with silver wire and granulation, at the top a square metal amulet box (Tibetan gau or gahu) reminiscent of Islamic bazuband amulets worn on the upper arm, encrusted with corals, turquoises and paste, with two bulbous hoops on the sides, the headdress central band flanked by two large pointy ear-like fur panels made of black yak hair, with long braids dangling from the top, and a rectangular panel sewn with cylindrical coral beads and other semi-precious stones, mounted on a modern black metal stand; accompanied by a neck ornament, known as a skeypuk, the washed indigo blue cotton ground adorned with three large turquoise beads surrounded by rows of red coral beads, with later-added strings on each end.The headdress 50cm x 91cm including the braids and standThe necklace 17.5cm x 18cm In Ladakh, perak headdresses are a fundamental symbol of local women's social status and wealth. The number of turquoise bead rows is not left to chance: nine rows were reserved for royalty; seven rows for the aristocracy; five for distinguished ranks, and three for lower ranks. The choice of materials employed to decorate the headdress was also not a coincidence: turquoise, corals and yak hairs are all linked in the ritual imaginary to Ladakh deities, acting thus as protectors and guides of the wearer. The headdress 50cm x 91cm including the braids and stand, and the necklace 17.5cm x 18cm Qty: 3
Lot 137
AN EMBROIDERED INDIAN FELT PANEL Northern India, 20th centuryThe rectangular hanging of taupe felt wool, worked in coloured floss silks and metallic threads on raised cords with a stylised floral urn flanked by rampant lions at the base, and crowned angels or apsaras (heavenly figures) in the squinches above a traditional cusped arch, with concentric decorative borders featuring vegetal scrollwork and foliage, the decorative motifs and overall design reminiscent of woodblock-printed cotton palampore hangings, but the woollen material indicating a different geographic origin and date.126cm x 75cm 126cm x 75cm Qty: 1
Lot 91
A POLYCHROME EMBROIDERED CEREMONIAL HORSE CHEST COVER WITH GEOMETRIC MOTIFS Uzbekistan, Central Asia, early 20th centuryThe characteristic V-shaped red cotton ground sewn with traditional Central Asian cross-stitched geometric motifs, reminiscent in style and palette range of Palestinian tatreez embroideries, with repeating heart or hourglass-shaped patterns set against orange, green and cream grounds, interspersed amidst vertical burgundy-coloured diamond-shaped fretwork bands, the lower section of the equine chest cover embellished with a polychrome crochet grid with tassels, the panel a remarkable witness of Central Asian embroidery techniques as well as equine history.71cm x 97cm 71cm x 97cm Qty: 1
Lot 180
A CARVED ARCHITECTURAL WOODEN PANEL WITH DEITIES AND DANCING FIGURES South India, 19th centuryOf long and narrow rectangular shape, the front decorated with three overlapping friezes featuring two rows of dancing figures, most of them repeating similar dance poses and stances, the slightly larger figures possibly representing deities such as Shiva Nataraja (the Dance Lord), the lowest row with figures holding their hands in prayer, the three overimposed friezes flanked by two larger figures, possibly dwarpalas (door guardians), the reverse carved and smoothed, with five narrow rectangular openings at the top, possibly once slotted and fitted onto a larger panel.20.5cm x 119cm x 5.5cm 20.5cm x 119cm x 5.5cm Qty: 1
Lot 115
A LARGE ILLUSTRATED FOLIO OF A QAJAR SHAHNAMA WITH RUSTAM Qajar Iran, 19th centuryOpaque pigments and gold on paper, the illustrated folio accompanied by four vertical columns of black ink nasta'liq Persian script, the chapter heading in red ink naskh script marking Bahman approaching Rustam and delivering Esfandiar’s message, the illustration featuring the epic Iranian hero Rustam clad in tiger-skin tunic resting by a stream, wine in hand, one leg stretched against a boulder, his plumed helmet lying in the foreground, the hero holding a whole lamb on a skewer on red coals, his steed, Rakhsh, supporting a pair of partridges in suspended animation, the scene observed by amazed warriors from beyond mountains, within blue, red, and gold rules, pasted on board, with a detached front off-white mount.The text panel 32.2cm x 19.5cm, the folio 41.5cm x 28.2cm, 48.8cm x 32.8cm including the mount The charming miniature of the epic warrior feasting between bouts of battle indicates the bazm-razm (feast-battle) motif does not always require a large gathering. The folio 41.5cm x 28.2cm Qty: 1
Lot 63
TWO GREEK EMBROIDERED LINEN HANGINGS Possibly Chios, Greek islands, 19th centuryComprising a panel of three joined lengths of fine unbleached linen, delicately worked in blue, red, and white silks with alternating flowerheads, lined in white cotton; and another, similar, on stronger linen, worked in blue, red, and white twisted silks with stylised branching tulips and serrated boteh leaves (paisley).The largest 124cm x 180cmThe smallest 122cm x 121cm Provenance: Maria Sotiriadis Collection, Athens, Greece in the 1950s; currently part of a UK private collection. The largest 124cm x 180cm, the smallest 122cm x 121cm Qty: 2
Lot 64
A FINE GREEK EMBROIDERED PANEL WITH AVIARY MOTIFS Possibly Crete, Greek islands, 19th centuryThe square panel of plain weave, undyed linen finely worked in taupe, ochre, russet orange, pale pink and green within black outlines, displaying a variety of stitches, decorated with a symmetric and directional design of floral urns and birds in flight, this aviary motif recurrent in many Cretan embroideries, the design repeating in the narrow border, in woven silk tape passementerie.89cm x 89cm 89cm x 89cm Qty: 1
Lot 99
A BROCADED SOGDIAN-REVIVAL SILK HANGING WITH AVIARY MOTIF Possibly Uzbekistan, Central Asia or Caucasus, 19th centuryThe rectangular hanging of cream-coloured silk, heavily brocaded in green and magenta silks, and gold and silver threads with supplementary wefts, the full length with a repeating motif in line with Sasanian-revival textiles produced in Sogdiana (modern-day Uzbekistan and Central Asia), featuring a haloed bird, possibly a mythical senmurv, in alternating rows within beaded roundels, interspersed with stylised floral grids, edged with woven metallic thread band, the panel a likely modern revival example harking back at models from the great past of the populations roaming along the trade routes of the Silk Road.255cm x 104cm For further reference and comparables of original 7th - 9th century Sogdian textiles: Mariachiara Gasparini, Sogdian Textiles Along the Silk Road, essay for the digital exhibition The Sogdians: Influencers on the Silk Roads at the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C. (last accessed: 21st March 2025). 255cm x 104cm Qty: 1
Lot 123
A 19th century diamond cluster pendant/brooch, the openwork circular panel centred with an old-cut diamond set cluster, enclosed by scrolls and foliage of graduated similarly cut diamonds, the detachable brooch fitting with later clasp, total diamond weight approximately 2.60ct, length 4.3cmDiamonds are lively but with variable colour and clarity, some stones with chips/surface-reaching fractures and mineral inclusions, estimated SI1 to P2 clarity and J to L/M colour, assessed mounted. The mount has wear commensurate for age and use, with several solder repairs and joins visible at junctions within the frame, and some chips, fine splits/seams. The setting has patchy wear and thinning. The detachable fitting is currently functioning but has a later replaced visor clasp and the pin is mis-shapen. There is a small numbered mark to the side of the mount, probably '44'. Metal standards are untested but the mount is possibly a gold/silver combination. Gross weight approximately 10.8gm.
Lot 74
A collection of jewellery and watches, comprising a pair of oval panel cufflinks, with chain-link fittings, monogrammed, stamped '18CT', a set of three collar studs, stamped '18CT', cased, a single 9ct gold engine-turned cufflink, a pair of silver rectangular engine turned cufflinks, assorted further cufflinks and studs, some cased, three open face pocket watches, and an open face pocket watch with stop watch hand, first cufflinks panel length 1.75cm (qty)Approximate gross weights only: cufflinks and studs stamped '18CT' 13.5gm, single 9ct gold cufflink 3.2gm.
Lot 4
A 22ct gold panel bracelet, designed as a series of disc-shaped panels decorated with Eastern character motifs, with London import marks, length approximately 17.5cmGross weight only approximately 60.7gm.One link is damaged. The clasp is slightly misshapen. Overall signs of wear and use, some scratches.
Lot 9
An 18ct gold signet ring, the oval panel with worn engraved crest, (hallmarks rubbed), and a pair of 9ct gold cufflinks, the oval panels with engine-turned decoration, on chain-link and torpedo fittings, ring size N, cufflinks panel length 1.7cm (2)Approximate gross weights only: ring 11.8gm, cufflinks 4.3gm
Lot 26
A late Victorian diamond panel ring, the navette-shaped panel pavé set with graduated old-cut diamonds, between reeded shoulders, 18ct gold mounted, hallmarked for Birmingham 1897, total diamond weight approximately 0.40ct, ring size MDiamonds have variable colour and clarity, some stones with chips and surface-reaching fractures that are eye visible, estimated SI1 to P3 clarity and H to K colour, assessed mounted. The ring mount has general surface wear, commensurate for age and use, with patchy thinning and wear to the tips of the setting. Hallmarks are clearly struck. Length of panel approximately 1.8cm. Gross weight approximately 3.9gm.
Lot 335
An amber bead necklace, designed as a single strand of oval amber beads graduating from approximately 10.8mm to 24mm in length, (amber untested for origin and treatments), together with a heat treated amber and amber-coloured bead pendant necklace, stamped '875', and a nephrite 'hei tiki' panel, first necklace length 45.5cm (3)36.7gms approx overall for the single graduated bead necklace.
Lot 150
An Art Deco diamond panel ring possibly by Cartier, the shaped rectangular panel centred with a lozenge-shaped step-cut diamond, enclosed by trios of graduated round brilliant-cut diamonds and pairs of baguette-cut diamonds, white precious metal mounted, indistinctly signed and indistinctly numbered 9706, accompanied by possibly associated Cartier gilt tooled pink leather case, total diamond weight approximately 1ct, panel length 1.9cm, ring size K½Diamonds are well matched, bright and lively, with estimated VS2 to SI2 clarity and H to J colour, assessed mounted. The ring mount has a solder repair to the base of the setting, to one of the ends, and there are further solder joins/repairs visible at the junctions of the setting to the shoulders. The mount has general surface wear, scuffs and nicks/chips throughout and the shank may have been re-sized and has worn slightly thin to the back. The signature is heavily worn. The number to the base of one of the shoulders is rubbed. Metal standard is untested. Length of panel setting approximately 1.9cm. Gross weight approximately 4.1gm. The possibly associated case is worn, with patchy staining, scuffs and small losses to the exterior finish.
Lot 172
A pair of sapphire set cufflinks, each textured rectangular panel centred with a line of circular mixed-cut sapphires, on hinged baton fittings, together with a pair of sapphire and white stone half hoop earrings, on post and hinged clip fittings, cufflinks panel length 2cm, earrings length 2cm (2)Approximate gross weights only: cufflinks 10.6gm, earrings 10.2gm (metal standards are untested)
Lot 265
An enamel open face fob watch, the circular guilloché enamel dial with black Arabic numerals and scrolled hands, to a similarly enamelled case with fruiting vine border, stamped '18K', with Swiss gold mark and keyless wind movement, suspended from an adapted gilt metal watch key brooch fitting, together with a nephrite panel brooch, stamped '585', and a set of four stone set buttons, adapted with cufflink fittings, watch case diameter 2.55cm (3)Approximate gross weights only: watch (including brooch fitting and movement) 19.8gm, brooch 6.9gm, buttons with fittings 12.2gm
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