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Lot 228
Corgi - Hauliers of Renown - 2 x boxed 1:50 die-cast model Eddie Stobart trucks - Lot includes a #CC13754 Scania R Facelift Box Step Frame Trailer (Comes with collector card but limited edition number is unknown). A number 1908 of 2500 #CC13747 Scania R Face Lift Super Curtainside Trailer. Die-cast trucks come with collector cards. Die-cast models appear in mint condition. Boxes appear in excellent condition with slight dusting. (This does not constitute a guarantee)
Lot 294
OO Gauge - Hornby Railways. A selection of Two diesel locomotives, one boxed, one in a wood / glass display box. Lot consists of: A boxed R2158 Class 52 Co-Co diesel electric locomotive in BR Blue Livery 'Western Ranger' D1067 appearing in Excellent condition. A track mounted Class 52 Co-Co diesel electric locomotive in R Blue Livery 'Western Druid' D1067 appearing in Excellent condition with Excellent case. (This does not constitute a guarantee). Condition Report: The cased locomotive is a Heljan OO gauge model (untested) and is presumed a workable model as opposed to a display piece.
Lot 36
THREE RINGS, to include a 9ct gold garnet cluster ring, of a marquise form, bead and scroll work surround, to the bifurcated shoulders leading onto a polished band, hallmarked 9ct Birmingham, ring size R, approximate gross weight 3.1 grams, the second a wide yellow and white gold band, set with triangular cut rubies and colourless spinels, hallmarked 18ct Birmingham, ring size leading edge N, approximate gross weight 6.1 grams, together with a yellow metal wire ring set with two cultured pearls unmarked
Lot 51
A YELLOW METAL INTAGLIO RING, purple paste intaglio of a rectangular form, engraved with a thistle inscribed 'Dinna Forget' translates to 'Do Not Forget', ring head measuring approximately length 13.3mm x width 10.8mm, collet set in a yellow metal mount to the bifurcated shoulders leading onto a polished band, stamped 9ct, ring size R, approximate gross weight 3.4 grams (condition report: abrasion to the paste edges, small dinks to the collet mount, would benefit from a gentle clean and polish)
Lot 513
THREE BOXES CONTAINING VINTAGE FILM, DIGITAL CAMERAS AND ACCESSORIES including a grey Yashica 44 TLR with f3.5 lenses, a Lubitel 166B, a Minolta SR-1 body, a Minolta SR-1s fitted with a MC PF 55 f1.7 lens, a Minolta 110 Zoom, a Pentax SF7 SLR fitted with 28-80mm f3.5, a boxed Sony DSC S80 digital camera, a Petri Colour 35, a Voigtlander Vitoret R etc
Lot 7
A GENTS 9CT GOLD SIGNET RING, polished square signet, ring head measuring approximately 13.1mm, to the tapering polished band, hallmarked 9ct Birmingham, ring size R, approximate gross weight 5.5 grams (condition report: split shank, requires attention, would benefit from a gentle clean and polish, general overall light wear)
Lot 88
An Edwardian silver quaich, of plain traditional form, marks for Chester 1907, maker George Nathan & Ridley Hayes 13cm, 86grams, sold together with an Elizabeth II silver Taste Du Vin, of dished circular form with embossed heart decoration and single moulded handle, marks for Sheffield 1972, maker C S R Ltd, 10cm, 44grams some fine scratching to quaich interior, otherwise good condition. The Taste du Vin on good condion, the stamped marks visible to underside.
Lot 153
NELSON & TRAFALGAR: Pettigrew, T J: MEMOIRS OF the life of VICE-ADMIRAL LORD NELSON 2 vols. 1849, 1st. Edn. original cloth, recased. Vg; Churchill, T O: THE LIFE OF LORD VISCOUNT NELSON. Harrison, 1811, 3rd. Edn. with plates, some folding. 4to. Cont. full leather & later spine; Parsons: NELSONIAN REMINISCENCES. 1843, 1st. Edn. half leather; Gamlin, H: NELSON'S FRIENDSHIPS. Two Vols. 1899; Fraser: THE ENEMY AT TRAFALGAR, 1906, 1st. Edn; The battle of Trafalgar. Astolat, 1905, full leather; Corbett, J S: The CAMPAIGN OF TRAFALGAR. 1910, 1st; Browne; NELSON - HIS PUBLIC AND PRIVATE LIFE. 1891, 1st; Southey, R: THE LIFE OF NELSON. (Illus. By Brangwyn). C1910; PLUS: 9 OTHERS, similar. (20 ) (From the Naval library of a local gentleman).
Lot 170
GAME BIRDS: 1- Morris, B R: British Gamebirds and Wildfowl. Groombridge & Sons, 1855, 1st. Edn. With 60 fine colour plates. Large 4to. Cont. full calf, rubbed; occasional light spotting. Good copy; 2- Millais, J G: Game Birds and Shooting sketches. Henry Sotheran, 1892, 1st. Edn. Complete with all the plates, many in colour, Large Folio. Cont. half calf with gilt lettering; rubbed; 3- DIXON, C: Game Birds and Wild Fowl of the British Islands. Sheffield, 1900, 2nd. Edn. Complete with 41 colour plates. Original pictorial cloth; rubbed, (3)
Lot 177
Ogilvie, G, William R , Millais, J G , Chapman , A: The Gun at home and Abroad: 4 volumes, All Limited editions, with the same subscriber's number and bound in the original publishers full morocco: 1- British Game Birds and Wildfowl 1912; 2- British Deer and Ground Game 1913; 3- The Big Game of Africa & Europe, 1914; & 4- The Big Game of Asia and North America. 1915. Spotting to the endpapers and preliminaries. Attractive set (4)
Lot 181
SPORT: 1- Nicholson, William: An Almanac of Twelve Sports. Words by Rudyard Kipling. Heinemann, 1898, 1st. Edn. With 12 colour lithographic plates, 4to. Original pictorial boards, lacking the spine, the block is loose; 2- Baden- Powell, Sir R: Pig-sticking or hog-hunting: A complete account for sportsmen and others. Jenkins, 1924, With the Publisher’s slip, tipped-in: “Advance Review Copy, this book will be published 14 Nov. 1925”, DW (also with the Publisher’s slip), VG; 3- Badminton Library, 3 vols. Phillipps-Wolley: Big Game shooting, in 2 vols. 1902-03; & Walsingham: Shooting, 1887, all three in the publishers’ pictorial boards. (5)
Lot 191
JANE AUSTEN: Six works bound in five volumes: Sense and Sensibility; Pride and Prejudice; Emma; Mansfield Park; Northanger Abbey & Persuasion. R. Bentley, 1877-1879. With a frontis to each volume. Cont. half leather; rubbed; two former owners’ names and dates to title pages (1882 & 1944); occasional foxing. (5)
Lot 263
Agatha CHRISTIE Signed: Speaight, R: Acting: Its Idea and Tradition, 1947, 2nd. Edn. Dw. The front blank endpaper is inscribed: '1954, with appreciation of your services to the theatre' And covered with over 20 signatures, including: AGATHA CHRISTIE; NOEL COWARD; GRACIE FIELDS; BEATRICE LILLIE?, CHARLES LAUGHTON; ATHENE SEYLER; MADELEINE CARROLL; DIANA WYNYARD; ETC.
Lot 12
Large portrait of Colonel George R. Geen in full uniform with slicked back hairstyle.Silver gelatin print. Legible handwritten text reads, "Best wishes to Sgt Walter Gray, a damn good photo shooter. George R. Geer Colonel Air Corps." Dimensions: 11"W x 14"HCountry of Origin: United StatesCondition: Age related wear.
Lot 417
Ca. 100 BC - 100 AD. A stunning helmet crafted from bronze, characterized by a rounded bowl with hinged C-shaped cut-outs for the ears. The neck guard of the helmet flares outward, extending the protection down the back of the wearer's neck. The horizontal raised ribs that adorn the occipital area of the helmet, served a dual purpose: not only did they add an element of visual interest to the piece, but they also provided additional structural reinforcement to the helmet. Additionally, the front of the helmet is adorned with stylized wings of Jupiter's thunderbolt, a motif that symbolizes the god's power and might. Roman helmets were an essential part of a soldier's protective gear, serving to safeguard their heads from various weapons and projectiles. These helmets were typically made from bronze, iron, or a combination of the two metals, and featured a wide range of styles and designs, depending on the historical period and geographic region. Cf. Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 6 November 2002, Lot 95. Robinson, R., The Armour of Imperial Rome, New York, 1975; Junkelmann, M., Römische Helme, Mainz, 2000, pp.138-141. Some repairs. Size: L:270mm / W:250mm ; 905gProvenance: From a collection af a European collector; formerly in F. Breydel collection, Belgium, 1970s.
Lot 424
Late Period, Ca. 664-332 BC. The surface features a scene made up of 4 columns of text. In the upper register, the solar boat is represented, with its oar, and on each side the inscription S3 R': son of Re. Below, are two symmetrical representations of a male figure, one knee on the ground, arms raised in adoration of the Sun god. Between them, two divided columns of hieroglyphic inscription. The function of these cones was to imitate the angles of the roofs of ancient Egyptian residences or chapels.Size: L:100mm / W:100mm ; 400gProvenance: French collection of Dr. FH, 1970s.
Lot 471
Ca. 500-300 BC. A helmet comprising of hammered gilt bronze. The domed crown with front with medial ridge, with contoured double curve above the brow continuing as an occipital rib around the helmet, with pronounced arched brows and narrow flared neck guard. The crown domed with a mask-like front featuring eyes that have been carefully cut out. The round sections are each accentuated with a separately applied moulded bank. A tear-drop shaped nose guard is reaching down, moveable articulated crescentic cheeky guards with contoured edges are attached by hinges on the sides, rounded, and tapering towards the thin allowing binding. The Chalcidian-Type helmet started to replace the Corinthian-type helmet on the battlefield in the 5th century BC due to its restrictive attributes. The new versatile Chalcidian form of battle helmet enabled the owner to adapt on the battlefield. The Chalcidian helmet enabled greater sensory perception as the helmet was lighter and made in with senses in mind. By the time of the Peloponnesian War (434-402 BC) the Chalcidian helmet was the most widely distributed helmet in the Greek ranks. Good condition, heavily restored. Cf. The Walters Art Museum, Baltimore, accession number 54.2468. The British Museum, London, accession number: 1919, 1119.6. Bonhams, 7th October 2021, lot no 72. Literature: R. Hixenbaugh, Ancient Greek Helmets: A Complete Guide and Catalog, New York, 2019. Ohly, D., Die Agineten, Die Ostgiebelgruppe, Munich, 1976; Pflug, H., 'Chalkidische Helme' in Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.137-150. With Restoration. Size: L:320mm / W:250mm ; 920gProvenance: Private UK collection; ex German art market pre-2015.
Lot 476
Ca. 340-325 BC. A ceramic lekanis of the red-figure lid with two female profile heads between palmettes and stylised volutes. The "Ladies of Fashion" with ornate saccoi leaving a chignon projecting at the rear, a spiked stephane, earrings, and necklaces. The lid's knob handle with radiating strokes on top. The black-glazed dish with an inset flange to receive the lid, is set on a high hollow foot. For reference see Green, J. R., Corpus Vasorum Antiquorum, USA 22, Philadelphia 1 (1986), Plate 29 (many examples). Kranz, P. and R. Lullies, Corpus Vasorum Antiquorum, Deutschland 38, Kassel 2 (1975), Tafel 81, 2-3 (small lekanis with female heads). Romanelli, P., Corpus Vasorum Antiquorum, Italia 6, Lecce 2 (1979), IV Dr, Tavola 53, 1 (larger, but similar shape and decorative scheme), Tavola 56, 11-14 (small examples with female heads and palmettes). Trendall, A. D., Red Figure Vases of South Italy and Sicily: A Handbook, London, Thames and Hudson, 1989, 227, 2 and 4 (female heads on vases of the Darius-Underworld workshop). Cf. Christie's, Live Auction 6853, Christie's Interiors, 2 October 2012, Lot 431.Size: L:105mm / W:90mm ; 165gProvenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
Lot 488
Ca. 340-325 BC. A terracotta red-figure lekanis consisting of a black-glazed footed dish with a flange to receive the lid that is elaborately decorated with two female heads shown in profile and separated by palmettes. Each lady is painted with delicate features and intricate headdresses that are indicative of the period and culture from which it was crafted. For reference see Green, J. R., Corpus Vasorum Antiquorum, USA 22, Philadelphia 1 (1986), Plate 29 (many examples). Kranz, P. and R. Lullies, Corpus Vasorum Antiquorum, Deutschland 38, Kassel 2 (1975), Tafel 81, 2-3 (small lekanis with female heads). Romanelli, P., Corpus Vasorum Antiquorum, Italia 6, Lecce 2 (1979), IV Dr, Tavola 53, 1 (larger, but similar shape and decorative scheme), Tavola 56, 11-14 (small examples with female heads and palmettes). Trendall, A. D., Red Figure Vases of South Italy and Sicily: A Handbook, London, Thames and Hudson, 1989, 227, 2 and 4 (female heads on vases of the Darius-Underworld workshop). Cf. Christie's, Live Auction 6853, Christie's Interiors, 2 October 2012, Lot 431.Size: L:95mm / W:95mm ; 160gProvenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
Lot 532
Ca. 1st to mid-2nd century AD. A beautiful limestone bust of a young man, likely to be a fragment of a larger banqueting relief from the desert city of Palmyra. The subject depicted is a youthful beardless man with almond-shaped eyes and a small, down-turned mouth. The hair brushed forward in a series of locks. He wears a sleeved tunic with braided edges and groups of comb-pattern bars at the joined seams; over this, a chlamys is secured on the right shoulder by a rosette-shaped brooch, and he is holding in his left hand a sceptre.The wreath shown across the head is typically associated with priests, which were a common subject and form 10 per cent of Palmyrene funerary representations in total. Palmyrene priesthood was passed on within families to male members, sometimes from father to sons and sometimes from uncle to nephews. Furthermore, it is now clear that priesthood was not a profession that was necessarily held for a lifetime but rather a position and a status symbol, which carried great significance in Palmyrene society and was restricted to the elite of the city. To find out more about the representation of priests in Palmyrene funerary sculpture, see Raja, R. (2017). ‘“You can leave your hat on”. Priestly representations from Palmyra: Between visual genre, religious importance and social status’, in Richard Gordon, Georgia Petridou and Jörg Rüpke (eds), Beyond Priesthood: Religious Entrepreneurs and Innovators in the Roman Empire (Berlin: De Gruyter), pp. 417–442. Size: L:With stand: 205mm / W:99mm ; 1.2kgProvenance: Private UK collection; From an old London collection formed in the 1980s.
Lot 562
Ca. 100-300 AD. A gold signet ring of a smooth, round band with applied bezel set with red hardstone intaglio engraved with a depiction of facing right, standing figure of Minerva (identified with the Greek Athena). She wears a long dress, crested helmet and holds a shield and a lance. In Roman mythology, Minerva is the goddess of wisdom and warfare, but also patron of arts and crafts. She is probably a goddess of Etruscan origin. Along with Jupiter and Juno, she formed the Capitoline Trinity. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 18.80mm / US: 8 7/8 / UK: R 1/2 ; 8.43gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 567
Ca. 100-300 AD. A rare, yellow-green coloured glass dish with a folded broad rim. The interior surface is plain whilst the outside is decorated with a floral pattern radiating from the centre of the base. Good condition. By the Late Roman period (4th-5th century AD), good quality glass tableware such as this one - which were kept in the dining/reception rooms or the entrance room of a house - were less common and could have been used as a showpiece and perhaps even as a status symbol, suggesting that glass vessels played an important role in late Antique dining and society. For more information, see Bayley, J., Freestone, I., & Jackson, C. (2015). Glass of the Roman World. Oxford And Philadelphia: Oxbow Books, 88; 135.Size: L:60mm / W:200mm; 247gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1990s on the UK art market.
Lot 626
Ca. 100-300 AD. An oval-shaped carnelian intaglio engraved with a striking left-facing portrait of Jupiter, the ruler of the heavens and the god of thunder. The portrait is executed with remarkable skill and attention to detail. The god's regal features are masterfully carved, with a full beard, strong jawline, and piercing eyes that gaze out with an air of authority. The god's hair is neatly arranged in waves, with locks framing his face.Size: L:12.7mm / W:10.5mm ; 0.73gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Lot 629
Ca. 1-300 AD. A large terracotta shallow plate or dish with its walls gently tapering to a low ring base. 'Terra sigillata' is a type of fine ware Roman pottery identifiable by its red glossy surface slip, which was made in specific areas of the Roman Empire, such as North Africa, Gaul, and Central Italy.Size: L:40mm / W:235mm ; 590gProvenance: Ex Collection L. R., Bavaria, acquired before 1970.
Lot 672
Ca. 300-400 AD. A terra sigillata dish comprising a round-bottomed bowl with high sides that end in a thick everted rim. Terra sigillata is a type of Roman utility ceramics characterized by the red color of the glaze. Ceramics, known today by this name, was also distinguished by a glossy surface - smooth or decorated with various relief decorations, usually with figural and floral motifs. The gloss of the surface was obtained by covering it with an engobe before firing at high temperatures. These vessels were characterized by high durability.Size: L:55mm / W:150mm ; 345gProvenance: Ex Collection L. R., Bavaria, acquired before 1970.
Lot 720
Ca. 200-500 AD. A bronze finger ring with a circular loop, and a slightly raised round bezel bearing an incised decoration comprising a sun motif comprised of two concentric circles facing 22 radiating lines. The sun stands for Sol Invictus (Latin for: "Unconquered Sun"), a major divinity in Late Roman Religion. Sol Invictus was a patron of soldiers and became part of the official state religion in AD 274 under Emperor Aurelian. The cult continued into the 5th century as St Augustine felt it necessary to preach against Sol to his Christian congregation. The connection between Sol and soldiers means that this item may well have belonged to a Roman legionary, who wore it in hope of protection during military campaigns.Size: D: 18.80mm / US: 8 7/8 / UK: R 1/2; 5.36gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 722
Ca. 200-500 AD. A nice, one-piece bronze finger ring comprised of a single piece of bronze, which gives it impressive durability. The abstract etchings adorning the bezel add a unique and eye-catching flair to the whole piece. The bezel also has a low profile and is connected to the band with a single line that binds the two pieces together.Size: D: 18.61mm / US: 8 5/8 / UK: R; 11.55gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 728
Ca. 500 AD. A bronze cruciform brooch with a carinated bow, rectangular head-plate, and frontal knob. Decorated with incised patterns. These brooches were produced in a variety of shapes and sizes, and were typically used to secure clothing and other textiles, such as cloaks or veils. Cf. R. Hattatt, A Visual Catalogue of Ancient Brooches, Oxbow Books, 2000, fig. 231, p. 372.Size: L:115.7mm / W:29.7mm ; 52.2gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 750
AD 393-423. Honorius Av. solidus, AD 393-423, Ravenna mint. Struck AD 402-406. DN HONORIVS PF AVG; pearl-diademed, draped and cuirassed bust right. Rev. VICTORI-A AVGGG; Honorius standing right with left foot on bound captive, holding labarum and crowning Victory on globe; across field, R-V; mintmark COMOB in exergue. RIC X 1287; Depeyrot 7/1; Ranieri 12. Very Fine.Size: 21mm; 4.41gProvenance: Private London collection.
Lot 751
AD 408-420. Honorius Av. solidus, AD 408-420, Constantinople mint. . D N HONORIVS P F AVG; pearl-diademed, helmeted and cuirassed bust facing slightly to right, holding spear and shield decorated with horseman motif. Rev. CONCORDIA AVGG ?; Constantinople seated facing, head to right, holding sceptre and Victory on globe, foot on prow; star in left field, CONOB in exergue. RIC X 201; Depeyrot 73. Good Very Fine; graffiti. This coin published in I. Vecchi, R. Beale and S. Parkin, The Mare Nostrum Hoard (forthcoming); From the Mare Nostrum Hoard (1954).Size: 21mm; 4.16g, 6h.Provenance: Private London collection.
Lot 753
AD 476-491. Zeno Av. solidus, AD 476-491, Constantinople mint. D N ZENO PERP AVG; pearl-diademed, helmeted and cuirassed bust facing slightly to right, holding spear and shield decorated with horseman motif. Rev. VICTORIA AVGGG I; Victory standing facing, head to left, holding long jewelled cross; star in right field, CONOB in exergue. RIC X 911 and 930; Depeyrot 108/1. Good Very Fine. This coin published in I. Vecchi, R. Beale and S. Parkin, The Mare Nostrum Hoard (forthcoming);From the Mare Nostrum Hoard (1954).Size: 20mm; 4.47g, 6h.Provenance: Private London collection.
Lot 761
AD 1042-1055. Constantine IX Monomachus Av. histamenon nomisma, AD 1042-1055, Constantinople MINT. +I?S XIS R?X R??NANTI?M; Christ enthroned facing, raising hand in benediction and holding book of Gospels. Rev. + C??S?A?T? ?ASIL??S Rm; crowned bust facing, wearing loros, and holding labarum and globus cruciger. DOC 2a; Sear 1829. Near Extremely Fine; contact depressions to obv., corresponding raised areas on rev.Size: 27mm; 4.4g, 6h.Provenance: Private London collection, formerly from the inventory of a UK dealer.
Lot 171
Original vintage advertising poster for Art et Ethnographie d'Afrique Noire / Black African Art and Ethnography exhibition that took place from 17 May to 12 June 1989 at the Departmental Museum of the Vosges - Epinal, the poster features an image of an African tribal mask set over an orange background. Good condition, folds, creasing, staining, paper skimming. Country of issue: France, designer: Photo: R. Mairot, size (cm): 60x30, year of printing: 1989.
Lot 422
Original vintage movie poster for a 1966 American comedy film The Russians Are Coming, directed by Norman Jewison, starring Carl Reiner, Eva Marie Saint, Alan Arkin and others, the poster features red lettering with inversed letters R and N and letter G in a shape of a hammer and sickle. The film tells a fictional story of the grounding of a Soviet Navy submarine near the New England coast. Fair condition, folds, creasing, minor staining, paper loss in bottom left corner. Country of issue: USA, designer: Unknown, size (cm): 104x69, year of printing: 1966.
Lot 80
Original vintage advertising poster for the French artist Henri de Toulouse-Lautrec (1864-1901) exhibition at the Galerie R-G Michel featuring an illustration of a person on the horse and a gentleman leading the horse. Printed by Mourlot. Good condition creasing, staining. Country of issue: France, designer: Toulouse Lautrec, size (cm): 65x48, year of printing: 1954.
Lot 10
Ca. 202 BC-220 AD. A large grey earthenware figure of a female dancer wearing flowing, long-sleeved robe decorated with red inserts on the neckline. The lady has a finely detailed face showing red painted lips, a small nose, bright eyes and delicately arched eyebrows. The figure's long black hair is tucked behind her ears. 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). 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 Oxford Authentication. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate C123a63 will accompany this lot.Size: L:580mm / W:235mm ; 5.63kgProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Lot 194
Western Asiatic/Aegean, Ca. 1200-700 BC. A bronze spear with a triangular-shaped blade with a raised midrib, sharpened edges that taper gradually to a pointed tip, short socket, and a tang for insertion into a haft. Good condition, beautiful patina. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford University Press, Oxford, 88-89.Size: L:150mm / W:25mm ; 35gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1970s.
Lot 246
Ca. 600-800 AD. A gold finger ring composed of a hexagonal-shaped hoop with scrollwork decorations to the shoulders. The bezel is an eye-catching element of the ring, with two outer concentric wirings that encircle the perimeter and are threaded with small pearl beads. The central cell of the bezel is set with a glass cabochon, which adds depth and texture to the design. Good condition, the band is restored.Size: D: 18.19mm / US: 8 5/8 / UK: R; 7.36gProvenance: Private London collection.
Lot 261
European, ca. 1400 AD. A solid silver finger ring comprising a broad, flat-section hoop with incised shoulders and a large floral-shaped bezel that is adorned with six stylized petals and a further flower design with eight petals in the centre. This type of ring was possibly given as a symbol of devotion, love, and adoration. The symbolism of flowers in the Middle Ages was deeply connected to the spiritual belief system of the time. Flowers had a range of different meanings, depending on the type of flower and the context in which they were used. For example, roses were commonly used as a symbol of the Virgin Mary ("rose without thorns"), and lily symbolized purity.Size: D: 18.75mm / US: 8 3/4 / UK: R; 18gProvenance: Private London collection.
Lot 263
Ca. 1100-1400 AD. A bronze finger ring composed of a flat-sectioned, round hoop that expands to form an octagonal-shaped bezel with slightly rounded corners. The hoop is composed of a light bronze that has been etched on the shoulders, while the octagonal bezel is slightly larger and thicker, finely decorated with a bold cross, the symbol of Christianity, within a cruciform frame, with moon crescents at each corner. Cross symbolism has been an integral part of Christian medieval jewellery since the early ages. It served as a reminder of the core tenets of faith, as well as a vehicle for conveying spiritual messages. The cross often appeared in a variety of shapes and sizes, from simple geometric designs to elaborate ornaments. In its simplest form, the cross was used to represent the four quarters of the world, while more intricate designs could represent the twelve tribes of Israel.Size: D: 18.61mm / US: 8 5/8/ UK: R 1/2; 4.68gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Lot 273
Ca. 600-800 AD. A silver finger ring featuring a ribbed hoop with an applied bezel with intricate knobbed filigree decoration and captivating shoulders embellished with trefoil plaques that mirror the design of the bezel. During the Byzantine era, silver rings were most commonly used for personal adornment. There were a variety of styles and designs that served as symbols of status, rank, and social class. Some of the most popular designs focused on religious iconography and motifs, while others featured images of animals, plants, and other natural elements.Size: D: 18.19mm / US: 8 5/8 / UK: R; 8.31gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Lot 289
Ca. 1100-1400 AD. A nice bronze ring with a plain, round hoop slightly expanding to form a large, circular bezel with an intricately etched pattern with a central, stylised cross motif. The Crusades were a series of military campaigns led by European Christians between the 11th and 15th centuries to recover the Holy Land from Muslim rule. The Crusades had a profound impact on the political, religious, and cultural landscape of Europe and the Middle East.Size: D: 18.75mm / US: 8 3/4 / UK: R; 5gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Lot 306
Ca. 900-1100 AD. A Viking silver ring featuring a twisted median section that symbolizes the interconnectedness of life and the cycles of existence. The silver material used in crafting the ring signifies wealth, power, and status, and was used as a form of currency by Vikings. They were also used as a symbol of allegiance, loyalty, and friendship, and were often exchanged as gifts among prominent members of the Viking society. For a similar example, see The Walters Art Museum, Accession Number 57.1850.Size: D: 18.8mm / US: 8 7/8 / UK: R 1/2; 5.24gProvenance: Property of European collector. Private UK collection.
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297893 item(s)/page