Ca. 1200-700 BC. Western Asiatic/Aegean. A bronze spear with an elongated leaf-shaped blade, raised midrib, sharpened edges that taper gradually to a pointed tip, short socket, and a short tang for insertion into a haft. Good condition, beautiful patina; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press, 88-89 & Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 103-104.Size: L:140mm / W:25mm ; 43g. Provenance: Property of a North London professional; previously acquired on the UK/European art market in the 1980s.
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Ca. 1200-700 BC. Western Asiatic/Aegean. A bronze spear with an elongated leaf-shaped blade with sharpened edges that taper gradually to a pointed tip, short socket, and a long tang for insertion into a haft. Good condition, beautiful patina; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. 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 & Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 103-104.Size: L:205mm / W:15mm ; 20g. Provenance: Property of a North London professional; previously acquired on the UK/European art market before 2000.
Ca. 1200-700 BC. Western Asiatic/Aegean. A bronze sword with an elongated leaf-shaped blade, raised midrib, and a short tang for insertion into a hilt. Good condition, beautiful patina; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press, 88-89 & Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 103-104. Size: L:435mm / W:55mm ; 315g. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1200-700 BC. Western Asiatic. A fine bronze dagger with a slender blade and a concave handle that would have been inset with stone, bone or ivory. Good condition; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press. Size: L:335mm / W:27mm ; 165g. Provenance: From the collection of a gentleman based in London; formerly in an old British collection; acquired in the 1980s.
Ca. 1200-700 BC. Western Asiatic. A fine bronze dagger with a slender long blade, a raised midrib, and a concave handle that would have been inset with stone, bone or ivory inlay. Good condition; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press. Size: L:338mm / W:16mm ; 88g. Provenance: Property of a London gentleman, formerly acquired in Europe in the 1990s.
Ca. 100-300 AD. Roman. A beautiful, wearable gold bracelet composed of solid ovoid gold beads and a round bezel with blue inlay. Both terminals are shaped as triangles decorated with concentric incised circles and feature a simple hook clasp. 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. Bracelets were part of the feminine costume in the Roman world and were used both for aesthetic purposes and to communicate social messages of status and wealth. 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 bracelets and jewellery production in general, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. Size: L:90mm / W:90mm ; 22g. Provenance: From the collection of a gentleman based in London; formerly in a private collection (North America) formed in the 1980s.
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 wearable gold ring with a circular band, gently flared shoulders, and applied oval bezel set with a cabochon purple gem. Excellent condition. Roman rings were often embellished with intaglios, cameos and precious gemstones. Mythology and Roman history were used as a repertoire of 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: 13.6mm / US: 2 1/2 / UK: E; 2.7g. Provenance: Property of a London gentleman, formerly acquired on the UK Art Market in the 1990s.
Ca. 100-300 AD. Roman. A wearable gold ring featuring a circular band, flared shoulders, and large oval bezel embellished with a finely incised intaglio depicting a cockerel facing an oinochoe. 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. In the Greek and Roman worlds, the figure of the rooster was frequently associated with gods such as Asclepius, Minerva, and Mars, and represented different aspects of their personalities or spheres of influence, such as healing, readiness, and pugnacity. To find out more about Roman rings and jewellery production, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. Size: D: 20.4mm / US: 10 3/4 / UK: V 1/4 / 5.2g. Provenance: From an old British collection formed in the 1990s; previously acquired in Germany.
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. 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. 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. 3100-2500 BC. Bactrian. A beautiful example of a column idol (sometimes called a pillar idol), hand-carved from cream coloured Alabaster. The body of the idol is highly abstract, with an hourglass form. The lower end curves out gently to a slightly convex base with a shallow, horizontal groove down it. The upper end flares outward at a steeper angle and has a flat base, also with a shallow, horizontal groove through it. Both intriguing and quixotic, this is a wonderful example of abstract anthropomorphic artistry from the ancient world. Stone idols like this example are known in a variety of fascinating forms throughout the pre-literate ancient world. They are attested across the vast expanses of Western Asia from the Caspian Sea to Afghanistan, including ancient Bactria. Their precise meaning remains elusive, but the many hours of labour required for their manufacture indicate that these were prestige items, perhaps used during religious ceremonies. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis.Size: L:110mm / W:75mm ; 1kg. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Ca. 300-100 BC. Graeco-Bactrian. A marble head of a man with a thick beard, hanging down in broad locks along the cheeks. His face is carefully modelled in a naturalistic fashion. The mouth features thick distinctive lips, the forehead is slightly bulging, the nose is straight. The head is bent forward and slightly to the left, featuring high brows the open, alert eyes with visible pupils, are looking nobly straight ahead. Full, extremely thick curls framing the face. The back of the sculpture is flat. This beautiful piece represents a substantial investment on the time by Bactrian artisans and may therefore have been intended to depict a god. Ancient Bactria was a region of Central Asia, north of the Hindu Kush mountains and south of the Tian Shan range. Bactria was a diverse and rich region, ruled by a successive of oppressive overlords, including the Persian Empire, Alexander the Great and his successors, but at the same time it developed its own rich and distinctive artistic culture. Excellent condition; on a custom stand. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Size: L:190mm / W:110mm ; 2.7kg. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.
TWO ENGLISH BONE CHINA CABINET PLATES comprising (1) Royal Worcester plate 1875, painted by Robert Perling with King Charles spaniels, cavaliers hat and cockspur on a velvet covered table, pierced, jewelled and gilt border, titled in brown script verso, 'The Cavalier's Pets, after Sir E. Landseer RA by R F Perling', red printed and impressed marks, 23cms diam; (2) a Rockingham plate, circa 1826-30, centre painted with titled view ' Ferry House at Bunaur' within primrose leaf moulded border and gilt cavetto and rim, red printed griffin and impressed B marks, 25cms diam (2) Provenance: private collection, South Wales Auctioneer's Note: Robert Perling began as a painter at Chamberlains and became Royal Worcester's foremost animal painter, compare with a Chamberlains basket painted with Queen Victoria's Cavalier King Charles spaniel 'Dash', after Landseer, sold at Bonhams 8 March 2006 Condition: (1) reverse with slight discolouration of body at the edges (2) paint flakes to trees in centre
RONALD SEARLE (British, b. 1920) ink on paper - 'Thank You' note/letter with cartoon of a two headed man, inscribed, signed with initials 'M & R' and dated 1978, Cartoon Gallery Ltd. label verso, 20.5 x 22.5cms Provenance: private collection consigned via our Colwyn Bay office Presentation & Condition: creased twice as usual for a letter, framed ready to hang Please note that this lot may be subject to Droite de Suite ar 4% of the hammer price (please see terms / enquire)
A complete silver flatware service of twelve place settings, R. & W. Sorley, Sheffield 1936, comprising twelve table forks, twelve soup spoons, twelve dessert spoons, twelve dessert forks, twelve teaspoons, one pair of sugar tongs, one soup ladle, two sauce ladles, four table or serving spoons, with twelve bone-handled dinner knives, twelve bone-handled luncheon or dessert knives, a pair of bone-handled meat carvers, a pair of bone-handled game carvers, and one steel sharpener, each silver piece engraved with the initial "C", all contained in a fitted mahogany canteen table of two drawers. (97 pieces), total silver weight 127 troy ounces
A WILLIAM III BRITANNIA SILVER BLEEDING BOWL, by Edward Wimans, London 1698, circular with pierced side handle, scratched 'R L / 1770' to underside. 16cm diameter across handle, 3.7 troy ouncesCONDITION REPORTMarks well spaced, light rubbing to two but legible, the rest well struck. Stands upright, does not rock. Two small splits - at right hand side join to body of bowl, and a smaller one within the piercework design. Planished throughout the bowl, but some additional dings throughout, especially to the top and base rims. Light surface scratches commensurate with age and use
A George V 1913 half sovereign mounted in a hallmarked 9ct yellow gold ring mount, ring size R½, approx. weight 9.8g. IMPORTANT: Online viewing and bidding only. No in person collections, an additional charge of £15 (inc. VAT) applies to this lot to cover postage to registered UK only address.
A VICTORIAN SILVER THREE-PIECE TEA SERVICE, by Richard Pearce & George Burrows, London 1838, 1846 and 1847, squat circular, the teapot hinged domed cover with leaf and berry finial, scroll loop handle with ivory insulators, on four splayed scrolling foliate feet, with presentation engraving to side dated 1862 relating to the 6th Dorset Volunteer Rifle Corps, based in Wimborne, Dorset, with cream and twin-handled sugar en suite, also with presentation inscriptions. Teapot approx. 26cm handle to spout, 39.6 troy ounces grossThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Marks clear, well spaced and well struck - teapot 1846, sugar 1838, cream 1847. Teapot further stamped to handle and inside of cover. Sugar gilded to interior. All stand upright - very minor wobble to cream, significant rocking to sugar. Presentation engraving reads: 'PRESENTED TO / Mr F. S. Blount. / in consideration of his kind and efficient services / AS / Band Master. / of the / 6TH DORSET. V. R. C. / 1862.' Light surface marks and scratches commensurate with age and use
A SET OF SIX GEORGE III SILVER DESSERT FORKS, by Thomas Wallis (II) & Jonathan Hayne, London 1817, Fiddle, Thread and Shell pattern, five engraved with 'R' to reverse of terminal and one with an inscription, all engraved 'EN' to front of terminal. 17cm, 10 troy ouncesCONDITION REPORTMarks clear and well struck, maker's mark lightly rubbed to some but legible. Engraving to terminal of single fork reads: 'Hoc cum 23 aliis / C.G.Rigby Collins / D.D. / Geo. Radcliffe.'. Scratches to tines, light surface marks and scratches commensurate with age and use
THREE ITEMS OF 9CT GOLD MOTHER OF PEARL JEWELLERY, comprising; A 9CT GOLD MOTHER OF PEARL AND DIAMOND RING, ring size R, 8.5 grams gross; AND A 9CT GOLD PINK AND WHITE MOTHER OF PEARL RING, ring size R; AND A PENDANT, measures 6cm by 4cm (3)The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Good overall condition.
A selection of rings, to include a black hard stone mourning ring, stamped 9ct, ring size M½, a hallmarked 9ct yellow gold initial 'R' mourning ring, ring size W, weight approx. 5g, a square head signet ring, stamped 9ct , ring size T, and a hallmarked 9ct yellow gold oval head signet ring, ring size V, weight approx. 3g. IMPORTANT: Online viewing and bidding only. No in person collections, an additional charge of £15 (inc. VAT) applies to this lot to cover postage to registered UK only address.
7 Sucherkameras, Voigtländer, 1950er/60er Jahre 1x Vito B mit Color-Skopar 3,5/50mm, 1x Vito BL mit Lanthar 2,8/50mm, 1x Vitoret mit Vaskar 2,8/50mm, 1x Vitoret D mit Color-Lanthar 2,8/50mm, 1x Vitoret L mit Color-Lanthar 2,8/50mm, 1x Vitoret R mit Lanthar 2,8/50mm, 1x Vitoret DR mit Color-Lanthar 2,8/50mm, Alters- u. Gebrauchsspuren, ungetestet Provenienz: Sammlung Heinz Pott, Norddeutschland
Konvolut Filmkamera-Objektive P. Angenieux u.a., 20.Jh. 1x Angeniuex-Zoom Type L1 2,2/17-68mm, 1x Angeniuex-Zoom Type K1 1,8/9-36mm, 2x Angeniuex Retrofocus 1,8/6,5mm, 1x Berthiot Cinor 1,5/25mm, 1x Berthoit Hyper Cinor, 1x Yashicor Wideangle u. Telephoto, 1x Rodenstock Ronagon R, Alters- u. Gebrauchsspuren, ungeprüft Provenienz: Sammlung Heinz Pott, Norddeutschland
Taxidermy: Eurasian Otter (Lutra lutra), circa 1930, R. Raine, Scientific & Ornamental Taxidermist , Gun & Fishing Tackle maker Carlisle, full mount stood upon a large faux rock in a river bank setting with head turning sharply to the left with mouth agape, amongst reeds grasses bulrushes and moss, the base covered with soil and pebbles, set against a watercolour painted back board, enclosed within a period ebonised framed three-glass display case with gilded border, 77cm by 49cm by 71.5cm, ex Lot 156 Tennants sale 20th September 2017. CITES Annex A, Appendix I (exempt). previous trade label to interior later removed, body of otter faded, 26/04/21
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297887 item(s)/page