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Click here to subscribe9th-12th century AD. A gold penannular finger ring with round-section hoop and bezel of everted spirals. [A video of this item is available to view on TimeLine Auctions website.] 9.26 grams, 23.21mm overall, 18.74mm internal diameter (approximate size British S, USA 9, Europe 20.00, Japan 19) (1"). Property of a North London gentleman; formerly in a North American collection acquired in the 1980s. Very fine condition.
10th century AD. A suite of substantial sheet gold belt fittings comprising: seven tongue-shaped tags each with a beaded double border and central panel of S-scrolled beaded filigree; two similar with volute-scrolled filigree; a D-shaped plaque with central filigree roundel and chevrons; two ellipsoid plaques with chevron and scroll motifs; a rectangular plaque with three filigree S-scrolls; three rectangular plaques each with gabled ends and granules, beaded filigree S-scrolls to each face; four crescent panels with S-scrolls and beaded borders; a large tongue-shaped strap end with beaded filigree chevrons, with remains of leather strap inside; possibly Khazar workmanship. 209 grams total, 21-66mm (3/4 - 2 3/4"). From the family collection of a Hampstead gentleman; formerly acquired in the 1980s. The group represents the suite of fittings from a high-status belt. The plaques with slots to the lower edge would have been used to support the mounting straps for a pouch and a possibly dagger. Waist belts with rich decoration formed an important element in displaying both wealth and social status in the early medieval world, which can be seen in the numerous suites of fittings with gold, silver and gems which appear from the steppe to western Europe. [21] Very fine condition. High status and rare.
14th-15th century AD. A decorated gold finger ring with slender D-shaped hoop, an ellipsoid bezel with large granule to each shoulder surrounded by a beaded collar and granule clusters; the oval cell with inset large, deep purple-red garnet cabochon of excellent quality. See Egan, G. & Pritchard, F. Dress Accessories c.1150-c.1450, London, 2002, 1613 (plain shoulders); cf. Oman, Charles, British Rings 800-1914, London, 1974, pl.16, E (similar in general form"). Portable Antiquities Scheme (PAS) report number LANCUM-CA6A2. 8.32 grams, 26mm overall, 19.16mm internal diameter (approximate size British S, USA 9, Europe 20.0, Japan 19) (1"). Found Stow, West Lindsey, Lincolnshire, UK; accompanied by a copy of the Portable Antiquities Scheme (PAS) report number LANCUM-CA6A2, and a copy of two letters from HM Coroner for Central Lincolnshire, disclaiming the Crown's interest under Treasure reference number 2016 T626. Very fine condition, repair to hoop. Rare.
2nd-3rd century AD. A gold finger ring comprising a flat-section hoop with applied lozenges, granule to each shoulder, stepped bezel with inset garnet, intaglio profile of an ant. 4.27 grams, 24.79mm overall, 18.29mm internal diameter (approximate size British S 1/2, USA 9 1/4, Europe 20.63, Japan 19) (1"). Property of a Bristol collector; formerly part of his father's collection formed between 1960-late 1970s. Very fine condition.
Mid 3rd century AD. A good condition iron short dagger or pugio of the 'Kunzing Type' according to the classification of Bishop & Coulston, 2006, p. 164, with double-edged blade complete with scabbard in iron sheath, the blade characteristically leaf-shaped with pronounced waist and a double longitudinal channel defining a rib, which is typical of this category; the sides are parallel, the iron grip originally would have been covered with bone or ivory, having inverted T-shaped grip plates with crescentic pommel; the iron sheath with punched decoration presents a mouth, medial plate and chape to the outer face; in this specimen the suspension rings used to wear the scabbard by attachment to the waist belt or to the baldric (cingulum and balteus) are exceptionally well preserved, and they are fastened by rivets to the mouth and medial plates. [A video of this item is available to view on TimeLine Auctions website.] See Bishop, M. C. – Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London,1993; Kennedy, D., The twin towns of Zeugma on the Euphrates, Portsmouth, 1998; Ba?gelen N.-Ergeç R., Belkis/Zeugma, Halfeti, Rumkale, a last look at history, Istanbul, 2000; Bishop M. C. & Coulston J.C.N., Roman military equipment from the Punic Wars to the fall of Rome, London, 2006; Feugère, M., ‘Roman militaria from Zeugma’, in Ergeç, R. (Editor), International Symposium on Zeugma: from Past to Future, Gaziantep: 2006, 91-96; Ibañez, F.C. ‘Post Vestigium Exercitus. Militaria romana en la región septentrional de la Península Ibérica durante la época Altoimperial’, in Morillo A. (ed.), Actas del II Congreso de Arqueología Miltar Romana en Hispania. Universidad de León-Ayuntamiento de León: León 2006, 257-308; Casprini F., Saliola M., Pugio gladius brevis est, storia e tecnologia del pugnale da guerra romano, Roma, 2012. 480 grams total, dagger: 34.5cm, scabbard: 25.5cm (13 5/8, 10"). Property of a Suffolk collector since the 1990s; accompanied by an academic report by military specialist Dr Raffaele D'Amato. This dagger finds a good parallel with a similar item found in London (Bishop & Coulston, 2006, p.165, fig.104,1), found in Copthall Court, which has 8cm wide and 30cm long blade. The Pugio appears as side weapon of the Roman legionary already during the 2nd century BC, probably adopted from the Iberians. However its full diffusion inside the Roman Army begins with Caesar but especially with Augustus, where it appears as the reserve weapon of the heavy infantryman. Usually worn on the left side of the body by the Milites Legionarii and on the right side from not commissioned officers and Centurions, was used as a lethal weapon in the body to body combat, being considered as a short sword (pugio gladius brevis est"). Its continued employment during the 3rd century is demonstrated by the many finds of similar type in Britannia (England), Syria, Germania (Germany), Pannonia (Hungary, part of modern Austria and Croatia) and in the most imperial provinces. In Kunzing not less than 51 blades and 29 sheaths of such weapons were found. Double-edged daggers of old pugio fashion are in particular archaeologically attested for the 3rd century AD, from Zeugma (Ba?gelen-Ergeç, 2000, p.22; Feugère, 2006, p.92; these iron specimens belonged to the soldiers of the IIII Legio Scytica here stationed; they were found in the 1992 excavation of the Dyonisos and Ariadne houses in chantier 12; s. Feugère, 2006, p. 92 and Kennedy, 1998, p.135, fig.5.9 p.89;) Dura (Bishop-Coulston, 2006, p.164;), Sotopalacios and Iuliobriga (Ibá?ez, 2006, pp.294 ff), London and other localities of Rhine and Germany (Kunzing, Eining, Speyer, s. Bishop-Coulston, 1993, fig.95.1 - London- ; Coulston-Bishop, 2006, fig.104, 4-5: Eining, 6: Speyer, Balkans and Danubian Limes. Our specimen is coming from a military outpost, probably from Britannia. The piece is in very good state of preservation, complete with scabbard. These daggers had usually a length of 28 cm, reaching a maximum size (scabbard included) of 40 cm. Some blades can be pattern-welded, whilst others had full organic grip assemblage. The presence of attachment rings on the scabbard was, according to Bishop & Coulston, a conservative feature, retained for the daggers long after that the ring suspension has been dismissed for the most of the sword's scabbards. 3rd century AD blades are usually longer and proportionally wider in comparison with the blades of the 1st - 2nd century. Casprini and Saliola (2012, pp.22-23) have evidenced the main differences between these pugiones and the earlier ones: with bigger dimension of the blade, expansion of the leaf-shaped shape, stronger central rib (when present), straight shoulder, flat tang, bigger guard of C typology, and bilobate pommel. The scabbards of these daggers were often only decorated with a simple punched decoration provided in front of the sheath, while the main body was fitted with wood slats covered by leather, but elaborated decorated scabbards also existed. Dagger scabbard plates in copper alloy from Dura, were identified by M. Bishop, finding a parallel with scabbard plates elements of daggers from Kastell Kapersburg, Zugamantel, Kastell Feldberg and Thamusida in Mauretania. These daggers were used both from Legionaries and Praetorians, these latter being usually more decorated. According to Herodian, when Septimius Severus gathered the Praetorians, he deprived them of the decorated daggers in addition to their belts. Very fine condition. Very rare with scabbard intact.
15th century AD. A gold finger ring with leaf detailing to the shoulders, discoid bezel with beaded border, intaglio cockatrice advancing with sword(?) before. [A video of this item is available to view on TimeLine Auctions website.] Cf. Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 589 for type. 12.16 grams, 24.35mm overall, 18.75mm internal diameter, (approximate size, British S, USA 9, Europe 20, Japan 19) (1"). Property of a South London collector; previously acquired on the European art market 1970-1980. Very fine condition. A large wearable size.
Late 2nd century AD-early 3rd century AD. Another 'hauntingly unforgettable work of art', with distinct artistic parallels to the famous Crosby Garrett helmet found in Cumbria in 2010; a bronze sports helmet mask of the exceptionally rare Mater Castrorum or female type, showing the head of an Amazon warrior or goddess with locks of wavy hair, topped with a tutulus hairstyle, diadems, garlands and other jewellery; the garland-diadem has a central knot with two hanging curls and is decorated with X-patterns inscribed inside rectangles; this mask was removable, being capable of being taken off at any time, proving that this type of helmet could be used not only during parades and other ceremonies, but also in combat. Property of a London collector; previously in the Craddock collection having been acquired from a London gallery in 2006; formerly in the Brian Grover collection of Surrey since acquisition in York in the 1970s; formerly in the collection of Peter Minns; believed originally from Northern England; accompanied by a copy of a signed acquisition and provenance declaration/receipt dated 23 May 2005; a sales invoice to A. L. Craddock from 2006; a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 609/131084; an academic report by military specialist Dr Raffaele D'Amato who will be making a presentation on this helmet at our reception on 2nd September 2019; and a report by the conservation specialist who restored the helmet, discussing the similarities of style and workmanship to the 'Crosby Garrett' helmet, which concludes that it is likely made by the same craftsman, or at least from the same workshop; accompanied by an Art Loss Register certificate no. S00149981. Published: Illustrated on the front page of Antiques Trade Gazette, 31 August 2019, Roman mask leads antiquities parade, with further editorial on pages 32 & 33 entitled Mask 'matches Crosby Garrett find'. 580 grams, 26 x 24 cm without stand (10 1/4 x 9 1/2"). See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; James, S., Excavations at Dura Europos 1928-1937, Final Report VII, The Arms and Armour and other military equipment, London, 2004; D'Amato R., A.Negin, Decorated Roman Armour, London, 2017. The two most evident samples resembling our specimen are the mask of Nola, today at the British Museum, and the mask of the Paul Getty Museum (D'Amato-Negin, 2017, p.220, fig.255 letters d-e). Maybe, as the facial mask from Nola, our mask depicts a goddess, Minerva or Victoria or Diana. This goddess is well suited to being depicted on protective arms since, unlike Mars, who loved blood, war and violence in any form, Minerva represented sacred defensive war and was the goddess of defence, symbolising the protection and patronage granted to the soldier. The stylistic type of the mask suggests that it is from the same school who made the masks of Nola (Italy?) and of the Paul Getty Museum (Syria or Egypt?). The similarity with the latter is astonishing, and like in the one of the Getty, the empty spaces of the diadem were probably originally encrusted with precious stones. This mask helmet belongs to the category of Roman mask helmets usually employed in the sportive games, acting also as military training, of the so called Hyppika Gymnasia described by Arrian of Nicomedia in his Taktika, written down during the age of the Emperor Hadrian (117-138 AD). The finds of two opposed ‘male’ and ‘female’ kind of masks in the military camp of Straubing, together with items of arms and equipment of opposing teams which performed a theatrical cavalry tournament, allowed to understand that the two groups performed, in their exercises, the mythical fight amongst Greeks and Amazons. This theatrical Amazonomachy was popular among Roman soldiers as evidenced by the fact that it is depicted on one of the three oval shields of the third century AD from Dura Europos (James, 2004, pl.VII). The representation of an Amazonomachy scene was not only a tribute to mythological tradition. In warfare, time after time the Romans encountered women fighting against them: Flavius Vopiscus wrote that women dressed in male attire (apparently, Sarmatian women warriors) used to fight against the Romans on the side of the Goths even in the late third century AD (Scriptores Historia Augusta, Divus Aurelianus, XXXIV, 1). Therefore, the imitation of confrontation with these militant women might be quite popular for theatrical cavalry tournaments, as well as for the visualisation of mythological scenes (D'Amato-Negin, 2017, p.213). A. Negin, however, was able to individuate three different types of such female masks used in such tournaments and probably also on the battlefield: the ‘Amazon’ type, the ’Mater Castrorum’ type, and the ‘Medusa’ type. Our specimen belongs to the Mater Castrorum type. E. Künzl (2008, pp.115-117) noted the similarity of some masks with images of soldiers’ empresses of the third century AD and suggested their relationship with the cult of mater castrorum (mother of the camp). It is commonly known that, besides civilian titles, an empress received this honorary title for her participation in military campaigns, like Faustina the Younger or Julia Domna (D'Amato-Negin, 2017, p.222). Examples in this group of masks date from the second half of the second to the first half of the third centuries AD. It was not necessary to make an exact copy of the portrait of a woman of the imperial family, it was sufficient to have a few distinguishing features on an item and achieve a general resemblance. According to J. Oliver, celebrations in the calends of January (Kalendae Ianuariae), as marked in the military calendar from Dura-europos (Feriale Duranum), namely 1 January, were intended to honour and bring sacrifices to the mother patroness of the military camp (mater castrorum). Negin assumed that during the solemn and theatrical ceremonies, masks of this type could be worn by the celebrant representing the divine patroness of military camps and performing games in cavalry tournaments. The relationship, at least, of a number of female masks to the cult of mater castrorum partly explains the fact that Arrian in his treatise on cavalry tournaments mentioned nothing about masks depicting female faces, as Faustina the Younger was awarded this title forty years after this source had been written. Putting on the attributes of a different gender identity, male soldiers impersonated women both in theatrical performances of Amazonomachy and in ceremonies honouring the ‘mother of the camp’. Very fine condition, an exceptional survival from Roman Britain. Excessively rare. [A video of this item is available to view on TimeLine Auctions website.]
4th-3rd century AD. A large silver appliqué, to cover the frontal head of a horse, with richly chased decoration showing the outstanding work of probably Pontus Greek artists; in the centre the head of Athena Promachos (warrior Athena), seen from three quarters, inside a phalera (disc) decorated with foliate motifs; the Goddess is represented carrying an attic helmet ornamented with a three-folded plume (tryfaleia); the phalera is positioned and affixed between two female Deities; above a female priestess is performing a sacrifice to a statue of a goddess (probably Athena), standing on a base; on the left and right are two smaller gorgoneia, or representations of the Medusa, the snake-haired Gorgon killed by the hero Perseus, whose gaze petrified men; the phalerae and the other images are mounted upon a structure which represents the straps of a horse muzzle, upon which the fragmentary piece of armour was collocated; mounted on a custom-made stand. [A video of this item is available to view on TimeLine Auctions website.] See Daremberg - Saglio, Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873 - 1917; Yavtushenko, I (ed.), Masterpieces of Platar, Kiev, 2004; ???????? ?.?., ????.???.????; ??????? ?.?., ????.???.????; ?????? ?.?., ?-?.???.????; ?????? ?.?., ????.???.????; ?????? ?.?; ????????? ?.?., ?-?.???.????; ??????? ?.?, ???????? ????????? ????????? ????? ?????????? ?? ?????, ????, 2004; The phalera with the head of Athena Promachos find a good correspondence with the famous piece found in the Scythian Koul-Oba Kurgan (near Kertsch, Crimea, S. Daremberg-Saglio, s.v. Galea, col. 1451, fig. 3476), giving us a clear idea of the provenance of the piece of armour; the representation of Athena shows her famous helmet, copying the helmet of Athena Parthenos of Phidias, decorated with a great richness and with the crest recalling the Phaloi (horse-crests) of Homeric Age; the two phalerae representing Medusa are identical to a horse phalera of 2,9 cm (dated 330-300 BC) published by Ukraine archaeologists in 2004 (????????-???????-??????-??????-??????-?????????-???????, 2004, p. 98 fig. 5b), again part of a Scythian grave deposit. 458 grams total, 28 x 33cm with base (11 x 13"). Property of a UK collector; formerly in the collection of Jan Adler, London, UK; acquired 1983; previously with Gorny & Mosch, 17 December 2014, lot 54 (20,000.00 euros); accompanied by a copy of the relevant Gorny & Mosch catalogue pages; and an academic report by military specialist Dr Raffaele D'Amato. It is not a wonder that Athena, she-protector of the war horse, was used as decoration for the front piece of the horse armour. In the Greek world horse armours were already in use since at least from the 7th century BC, but increasingly in the Hellenistic age, especially after the military reforms of Philip II and Alexander III the Great of Macedonia, where the cavalry was employed as a fundamental tactical instrument on the battlefield, and not only as support of the Phalanx. At the same time protection for the horse, especially with the creation of units of armoured cavalry following the Iranian models, increased as well. Such protection for Hellenistic and then Roman Armies was sometimes complete, comprising defences for the head (prometopidia, chamfron), the neck and the body. The Greek terms for the various elements are listed in the 2nd century BC by Pollux, in his Onomastico (I, 140-141): ????????????? (protection of the head), ???????? (eye-protectors), ??????? (cheek-pieces), ????????????? (covering for the breast), ?????????????? (protection of the flanks), ???????????? (covering for the thighs), and even ????????????? (covering for the legs"). The Prometopidion was often created from one piece of bronze or brass, but in this case was probably an openwork applied upon the leather straps of the muzzle. The piece was applied over a leather base, being a functional piece of horse protection to be worn in battle, probably by a high military commander. The ????????????? is an exquisite product of Greek Pontic art. After settling on the Pontus Euxinus Coast by the Greeks, attracted by its minerals, fertile soils and profits with local inhabitants (Scythians, Tauri, Maeoti), important Hellenic centres flourished in the area from the 5th-4th century BC, forming the main Greek states of Olbia, Chersonesos and the Pontic Kingdom. Although in general their artistic productions do not differ a lot from that of the Greek Homeland, the North-Pontic jewellers and craftsmen established their own styles of decoration. They excelled in the stamped metallic appliqué, such as this example, where the three main phalerae were produced separately to be incorporated in the structure of the frontal horse protection. Exceptional workmanship. Excessively rare.
6th-7th century AD. A spectacular gilt-bronze appliqué in the form of a facing male head with horned headgear; piriform face, discoid eyes with garnet (?) cloison inserts, the nose covered by the nasal of the headgear, the beard triangular and the ends of the moustache extending beyond the cheeks; hair covered by a helmet or mask with hatched texture extending around the upper face and developing to two crescent extensions from the temples which meet above the crown of the head; the terminals formed as birds' heads; possible remains of attachment stud to the reverse. Kevin Leahy, National Adviser, Early Medieval Metalwork of the PAS commented: This striking mount is Early Anglo-Saxon and dates from the 6th to 7th century. Faces like this, wearing a horned headdress (or sporting horns of their own) are well known, appearing on some of the foils decorating the Sutton Hoo helmet, where the warriors carry swords and spears and appear to be dancing. A similar foil was found in a burial at Caenby, Lincolnshire and the horned warrior carrying two spears appears on a gold buckle from Finglesham, Kent. Horned warriors are not restricted to England and appear on a die for making foils found at Torslunda, Sweden, and on a die from Ayton in the Scottish Borders region. The question is: who do these mounts represent? It has been suggested that they depict the god Woden, one of whose attributes was a spear and that the birds' heads on the ends of the horns represent the the god's two ravens. However, these birds often have hooked eagles' beaks not the pointed beaks of ravens. We also see multiple depictions of the horned warrior on the same foil suggesting that it was not the god, although it is possible that the god's image was duplicated to emphasise his power. Woden is sometimes shown with only one eye as he gave up his other eye in exchange for wisdom. The two garnet-inlaid eyes seen here do not preclude the face being that of Woden but it would have been helpful if it had only one eye. Finally, what was this mount used for? Other examples like the one from Rempstone, Notts., has mounting pins on its back as does a mount from Finglesham, Kent. Many of the other mounts, however, lack any signs of a fixing. It is clear that the mount described here was attached to an iron object but we are left guessing what it was: a helmet or a buckle? Unless you find one still attached we are going to be left to wonder. [A video of this item is available to view on TimeLine Auctions website.] Cf. Hammond, B. British Artefacts - volume 1. Early Anglo-Saxon, Witham, 2010, item 1.4.5-r; Raynor, K. The Rempstone Mount: Anglo Saxon and Viking Horned Man Images & Artefacts, Nottingham, 2010 ; Pollington, S., Kerr, L. & Hammond, B. Wayland's Work: Anglo-Saxon Art, Myth & Material Culture from the 4th to 7th century, Ely, 2010; Pestell, T. Paganism in Early Anglo-Saxon East Anglia in Heslop, T.A., Mellings, E.A. and Thofner, M. Icon? Art and Belief in Norfolk from Prehistory to the Present, Woodbridge, 2012, figs. 6(a,b"). Recorded with the Portable Antiquities Scheme under reference BERK-DB4E15. 10 grams, 39mm (1 1/2"). Found Kingsworthy, Winchester, Hampshire, UK, in 2017; accompanied by a copy of the Portable Antiquities Scheme report number BERK-DB4E15, and a copy of The Searcher magazine, number 389, January 2019, where it features as the only item on the front cover and a two-page exclusive article by the finder, Caroline Fathers, on pp.14 & 15. The headgear with bird-head terminals is restricted to the 6th-7th centuries in England, although there are parallels from the material culture of both Anglian England and southern Scandinavia at this time. A pair of comparable bird-helmeted human faces can be found on the reconstructed frontal plates on the helmet found in Mound 1 at Sutton Hoo (Suffolk) depicting dancing warriors, and the male face shown on a foil fragment recovered from the barrow at Caenby (Lincolnshire"). Similar also is the figure on one of the dies found at Torslunda (Öland, Sweden) showing a male wearing a helmet with a pair of bird-headed horns. A long, triangular male face is shown on the vandyke designs on the foil horn mounts from the barrow at Taplow (Berkshire"). A male figure wearing a helmet with horns and bird-head terminals is the central design on a long triangular buckle found in grave 95 at Finglesham (Kent), and also from Finglesham (grave 138) is a mount in the form of a long, triangular human head with vertical radiating bands from the top of the head, and two crescentic horns emerging from the crown, terminating in opposed birds’ heads which meet above. A similar mount was found at Rempstone (Nottinghamshire) and privately published in Raynor (2010) while others were found more recently at Attleborough (Norfolk) and Soberton (Hampshire, PAS ref. HAMP2432"). A mount depicting a similar figure, showing the upper body with hands gripping spears, was published in Hammond (2010"). The significance of the headgear has not been fully explored but the coincidence of the birds and the head recall the later myths of Oðinn and his bird messengers, and suggest that these mythic characters were familiar in early Anglo-Saxon England. Very fine condition. An extremely rare museum-quality display piece.
Mid 7th-6th century BC. A rectangular sheet bronze plaque, holes close to the rim for attachment of a lining; the surface executed in repoussé technique, is filled by scenes horizontally divided with guilloche of two interlaced serpents; in the lower register two opposed lions (an antithetic pair, a lion and a lioness), both in profile, walking position, are showed attacking a boar; the lions have the jaws opened and prominent muscles; the mane is marked, their tails form a reverse S-curved between their hind legs; the anterior part of the boar is collapsing under the lion's attack; rosettes are filling the field and in the upper register, two large bosses are separating three semi-human figures, maybe representing evil spirits, advancing in crouching pose with elbows bent and hands palm-upwards, rosettes and fungi in the field, their arms elevated in prayer. Rawlinson, G.M.A., The five great Monarchies of the Ancient Eastern World, III vol., New York, 1881; Schmidt, E.F., Persepolis II, Contents of the Treasures and other discoveries, Chicago, 1957; Soudavar, A., Iranian complexities, a study in Achaemenid, Avestan and Sassanian controversies, Houston, 1999; Garrison, M., 'Notes on a boar hunt (PFS 2323) in Bulletin of the Institute of Classical Studies vol. 54, No. 2 (2011), pp.17-20; Muscarella, O.W., Archaeology, Artifacts and Antiquities of the Ancient Near East, Boston, 2013. 495 grams, 42 x 25cm (16 1/2 x 10"). Property of a West London businessman, formed in the late 1980s-early 1990s; accompanied by an academic report by specialist Dr Raffaele D'Amato, and by a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 618/129067. Our specimen is a well preserved decorative votive plaque of Early Achaemenid Age, although some elements could induce to consider the plaque as belonging to the late Elamite period. Usually these plaques are rectangular in shapes and contain one or more figures. One of the predominant figures is the lion, an old symbol of power in Ancient Mesopotamia. It appears often in a similar shape, for example in the Achaemenid seals (Schmidt, 1957, pp.42-44), as a hunter. The king of the beasts was considered a worthy foe, but sometimes was used as a symbol of the dynasty. Boars are also visible in seal pattern (Rawlinson, 1881, p. 240; Schmidt, 1957, pp.12,15,40,41,49"). The rosette motive is well known in the Achaemenid art, like on the Miho's Artaxerxes plate (Soudavar, 1999, p.11) or in decorated architectural fragments left on the ground in Persepolis (Soudavar, 1999, p.20 fig.14), and, more important, in the famous Otane's plaque (Soudavar, 1999, p.29 fig.32; p. 42 fig. 41a-b-c) or on the plaque reporting the Bisotun text (Soudavar, 1999, p. 56 fig. 45"). The rosette is a representation of the solar emblems, and it is already visible in works of the first millennium BC (Muscarella, 2013, pp. 682-683, 781), and on the diadems of the Elamite Rulers represented in the Achaemenid art. The representation of the Ansh?nite Sun Flower under form of rosette vary in shapes and it is not always easier to understand if its making is anterior to the Darius Persepolitan style. Here, the presence of convex more than concave rosettes are pointing more to a date anterior to the Darius Kingdom (522-486 BC"). The representation of the snakes is singular, considering that there is a general negativity in the Persian ancient culture associated with the word kerm/kirm (snake) and the animosity that Zoroastrianism developed towards snakes. However, according to the Sh?hn?meh, the discovery of fire was ushered by the appearance of a magical snake, at which, the legendary king Hushang threw a stone; it missed its mark but hit another stone and produced sparks that lit a fire. The Achaemenid Empire dominated the Near East and the eastern Mediterranean for about two centuries, from the mid-sixth to the mid-fourth BC, when it was conquered by Alexander the Great and the last Persian King, Darius III Codomannus, was killed by his generals. It was one of largest Empire's in the World and in many way one of the most successful. Votive plaques were dedicatory offerings to the temple, like modern ex-voto. The motive of the boar hunt in the Achaemenid Art is visible on seals, and represents the warriors (lions) hunting the enemy (ibex, boar), a typical war training exercise for soldiers, commanders and Princes. The theme of the boar hunt by Persian warriors has traditionally been associated closely with later Achaemenid glyptic from the western realms of the empire, but in this ancient plaque representation the lions appear symbolically substituting the warriors. Fine condition, with a beautiful greenish patina.
16th century AD. A mixed group of five silver pins each a plaque with S-shaped shank; designs include a facing mask, heart, rosette and other types. See Read, B. Hooked-Clasps and Eyes, Langport, 2008. 13.5 grams total, 11-21mm (1/4 - 3/4"). From a private Wiltshire jewellery collection; collection numbers 136,137, 141, 142; acquired in 2004; previously in an old Bournemouth, UK, private collection; and collection number 135, from a private collection since 1990. Fine to very fine condition.
6th-7th century AD. An ellipsoid blue glass cloison set in a cell with filigree collar, ring formed as two tapering bands with granules and coiled filigree panels. 8.13 grams, 25.60mm overall, 19.29mm internal diameter (approximate size British S, USA 9, Europe 20.00, Japan 19) (1"). Property of a Birmingham, UK, private collector; previously acquired from Artemission, London, SW5; formerly in a Dutch private collection having been acquired in Germany in the 1980s; accompanied by the original certificate of authenticity and invoice numbered 34466 for £1,900. Very fine condition, resized to size S to allow it to be worn.
14th-15th century AD. A gold finger ring comprising four ropework bands flanking a median granulated band, square bezel with frame of ropework arches each with a cross and granule detailing, inset later pearl with a median securing filet. Cf. Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, items 495, 496 for earlier examples of the type. 9.82 grams, 30.49mm overall, 19.39mm internal diameter (approximate size British S, USA 9, Europe 20.00, Japan 19) (1 1/4"). Property of a gentleman; from a Mayfair, London, UK, gallery; formerly in a 1990s UK collection. Very fine condition. A large wearable size.
2nd-3rd century AD. A matched pair of gold earrings, each an ellipsoid plaque with openwork floral border and central cell with inset cameo bird(?), ribbed bar beneath with hatched pine-cone dangles, S-shaped hook to the reverse. See Carducci, C. Gold and Silver Treasures of Ancient Italy, London, 1969; Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991, item 51a. 6.49 grams total, 41mm each (1 13/4"). From a private collection; formed 1965-1975. [2] Fine condition.
A QUANTITY OF UNBOXED AND ASSORTED PLAYWORN DIECAST VEHICLES, to include Spot-On, 2 x Corgi Aston Martin DB4 in red, No.218, James Bond Aston Martin DB4, No.261, working features but no bandit figure, assorted Corgi and Dinky cars of the 1950's and 1960's, Startex, Scalex (s.d.), tinplate, Supercar Pilots licence and Z Cars driver licence, etc
A BOXED CORGI MAJOR TOYS BEDFORD S TYPE CARRIMORE CAR TRANSPORTER, No.1101, lightly playworn condition, some minor paint loss and wear, mainly around the rear ramp, with a boxed Matchbox Major Pack Guy Warrior Car Transporter, No.M-8, very lightly playworn condition with only very minor paint loss and wear, boxes both damaged (2)
A SELECTION OF COINS, COSTUME JEWELLERY AND SILVERWARE, to include a 1950's silver letter opener with engine turned handle, a 1930's silver cream jug, a silver condiments dish with blue glass liner and a 1960's silver wine coaster, all with silver hallmarks, approximate total weight (excluding wine coaster and blue glass liner) 150 grams, together with a pair of 9ct cuff links, approximate weight 10 grams
A BOXED KUM-BAK TENNIS TRAINER, c.1930's, contents not checked but would appear fairly complete in original fitted wooden box which has some minor damage but has original (faded) label to lid, with a boxed Matchbox Radio Times The Thunderbirds Collection Commemorative Set, appears complete and looks to have hardly ever been removed from it's box, with a quantity of boxed and unboxed playworn diecast vehicles to include boxed Corgi Toys James Bond Aston Martin, No.C271, with working features and bandit figure, a quantity of Britains and other plastic farm animals, etc (three boxes)
A QUANTITY OF BOXED AND LOOSE MECCANO, mainly from Accessory Outfits 2a, 3a and 4a (boxes damaged), boxed No.1 Clockwork Motor (with key), literature etc, mainly red/green era, with a quantity of of unboxed plastic Meccano, a quantity of unboxed and assorted Lego (mainly c.1970's) and a boxed Tandy/Radio Shack Science Fair 75 in 1 Electronic Project kit, contents not checked, box damaged and a quantity of marbles etc (four boxes)
A COLLECTION OF BOXED BURAGO 1/43 SCALE DIECAST SPORTS AND RALLY CAR MODELS, all from the 4100 series from the 1980's, all in very lightly playworn condition but have damage to some boxes), with two boxed 1980's Lego vehicle models, Nos.6652 and 6653, still sealed in original packaging and a boxed Detecto Puzzles Kojak Crime Story plus jigsaw, No.2 'Inside Job', box has some crush damage but still sealed in original polythene
TWO 1920'S/1930'S THEATRE AND CASINO CATALOGUES AND A SELECTION OF COSTUME JEWELLERY, to include a German Metropol Theatre catalogue for 'Die Leuchter Des Kaisers' (The Candlesticks of The Emperor) and a French Casino catalogue for 'Revistas De Music-Hall', together with a three pence coin bracelet, a further coin bracelet, a St. Christopher pendant and chain, a multi-row bead bracelet, a modern pocket watch with chain and three further items of costume jewellery
A QUANTITY OF BOXED AND UNBOXED DINKY TOYS CARS, majority are 1960's cars in lightly playworn condition with some minor paint loss and wear to include Jaguar XK120 coupe, No.157, Jaguar 3.4 saloon, No.195, Plymouth Plaza, No.178 in pink and green, a Triumph TR2 Sports Car, No.111 (in incorrect box), yellow picture boxes range from good to poor with damage and missing flaps, etc (14)
A BOXED DINKY SUPERTOYS LEYLAND CAR CARRIER, No.984, complete and in working order, some paint loss and wear, logos in fairly good condition, missing packing pieces, box base in fairly good condition, blue stripe lid damaged, with a boxed Dinky Toys Spitfire MKII, No.719, not tested, missing aerial from behind canopy, minor paint loss mainly to underside, decals damaged, early issue in 'Battle of Britain' pictorial card box (damaged), a boxed Corgi Toys/Yardley Gift Set, No.25324, complete with McLaren F1 racing car, No.151 and bar of soap, model appears to have never been removed from box, inner box in very good condition, outer box complete but has some wear and damage, a boxed Matchbox 'Models of Yesteryear' Model T Ford Van 'H.J. Heinz & Co', No.Y-12, minor damage to box and a boxed Merit plastic pull-along Clicker-wagon, No.7540, c.late 1950's, appears complete, box complete and in very good condition (5)
A COLLECTION OF BOXED AND UNBOXED SCALEXTRIC ITEMS, to include boxed set No.1 (missing cars), boxed 1990's Formula One set, No.C732 with both cars (Ferrari 643, No.C319 and Benetton Ford B189, No.C461), two extra touring cars (Renault Laguna, No.C136 and B.M.W 318i No.C571), boxed and unboxed track and accessories, a quantity of Scalextric and Airfix MRRC cars in various states of repair, spares, etc (four boxes)
A QUANTITY OF BOXED MATCHBOX 1-75 SUPERFAST MODELS, De Tomaso Pantera, No.8, 2 x Lamborghini Countach Streakers, No.27, Caterpillar D-9 Bulldozer, No.64, 2 x Security Truck, No.69, all complete and in very lightly playworn condition, boxes have minor damage and wear, with a unboxed playworn Corgi Toys Volkswagen Van 'Toblerone', No.441, some paint loss but decals in fairly good condition, four other Matchbox and Dinky models and a 1960's Action Man Official Equipment Manual (prices written on in pen are pre decimal)
A QUANTITY OF UNBOXED AND ASSORTED PLAYWORN DIECAST VEHICLES, to include many Corgi cars from the 1960's and 1970's, including Mini Cooper S Monte Carlo 1966, No.321, Rover 2000 1967 International Rally, white body, black bonnet, racing number 21, No.322, Morris Mini Cooper De Luxe with wicker panels, No.249, Morris Mini Minor, pale blue body, No.226, several Film and T.V. related items, Dinky, Spot-On and Matchbox
A BOXED CORGI TOYS B.M.C. MINI COOPER 'S' 1967 MONTE CARLO WINNER, No.339, playworn condition, some paint loss and wear to decals, missing one front mudguard and Monte Carlo Rally plate and has some deformation and wear to roof rack, correct blue and yellow box, missing one end flap and has other damage and wear, with a boxed Corgi Toys A.E.C. Routemaster Bus, No.468, 1st type casting, 'Outspan Oranges' adverts, missing Clippie from platform and has minor damage to the bottom of the staircase, very minor paint loss and wear, box complete and in fairly good condition with only minor wear and a boxed Corgi Junior James Bond 'For Your Eyes Only' Citroen 2CV, No.E115, very lightly playworn condition, box complete but has some fading (3)
A QUANTITY OF BOXED AND UNBOXED MATCHBOX MODELS OF YESTERYEAR AND OTHER DIECAST VEHICLES, boxed Yesteryear are mainly 1970's and 1980's issues, to include Y-13 Crosley Lorry code 3 model 'Withers Haulage' Limited Edition No.443, earlier boxed items include Y-3 LCC E Class tramcar with open area under stairs and Y-3 Mercedes in green and yellow, unboxed items in playworn condition to include Corgi Toys James Bond Aston Martin, No.261 (features not working) and Citroen DS Team Managers Car, No.510 (missing cycle wheels), Matchbox, Corgi and a quantity of modern Britains Guardsmen etc, other boxed items include Corgi, Corgi Classics and Ledo etc (three boxes)
David Gray, Ricketts Head Oil on canvas Signed and dated 1988 verso 61 x 91.5cm (24 x 36 in.) Similar works by this artist retail at: £1,250 David Gray Internationally acclaimed British singer/songwriter writes: I’ve always been drawn to landscape painting and growing up in Pembrokeshire surrounded by incredible scenery certainly played a part in that. I painted and sketched this view many, many times. It’s a view of a very distinctive rocky headland that juts out at the end of Newgale beach, a beautiful stretch of sand a few miles from Solva, the village in West Wales where I lived from 1976-1990. This version is one of a series I did in March/April 1988 while I was studying for a BA in Fine Arts at Liverpool Art College. The series of charcoal sketches and oil studies of which this picture forms a part, went on to culminate in a couple of large scale oils both of which I sold in the summer of 1989. I used the money from those sales to help fund buying microphones and sound equipment for my band at the time ‘Waiting for Deffo’. We were just starting to get serious about playing our own shows in Liverpool, Manchester and beyond. While I was studying at Liverpool I used to drive back home all the way across Wales every time the holidays came in order to make a few quid working in my Dads shop and also to get some serious painting time in, out in the windswept wilds. This was also the time of numerous IRA terrorist attacks across the country. The scene that this picture depicts is actually a few hundred metres from where a large cache of IRA explosives was discovered in the early 90’s. The IRA would often land them at various remote locations along the Welsh coast. I used to drive a large double wheel transit van at the time, unfortunately just the kind of van the police we’re keeping an eye out for due to all the above reasons. I used to get pulled over driving through mid Wales time and again. I got the distinct impression that they didn’t have much else to do. One dark night around this time I was driving back to Liverpool with the back of my van completely loaded with wet oil paintings for my college show. Heading up into mid wales and there they were, mid wales finest, speeding up behind me with the blue light flashing round. I pulled over, by the this point heartily sick of the hassle, as every time I was stopped it would invariably mean having to drive back the next day to produce my documents in some god forsaken place. ‘What you got in the back there’ Says copper number one. ‘Oil paintings’ says I. ‘Better open her up, there’s a good boy.’ Says copper number 2. ‘You’ll need to be a bit careful’ I suggested ‘they’re still wet.’ Cue the sound of copper number 1 rummaging around and then a loud thud as a large canvas falls on top of him. A pause. A curse. The sudden realisation that I was telling the truth, and out he steps into the headlights where he realises that his immaculate blue uniform is now covered in large blobs of brightly coloured oil paint. A fair cop I’d say.
A collection of Walt Disney British Quad film posters (30 x 40 inch) including The Aristocats / The London Connection, Robin Hood, One of Our Dinosaurs is Missing, Popeye, plus The Jungle Book, Blackbeard s Ghost, Rescuers / Born to Run, Herbie Rides Again, Pete's Dragon, Dumbo d/b, The Sword in the Stone d/b & Return to Oz. All folded, various conditions. 12 in total
Two boxes of mainly military aircraft photographs, said to be over 1600 photographs of over 180 aircraft types, photographed during the 1960's and 1970's and including a number of earlier types remaining from the 1940's and 1950's, the photographs were taken during authorised visits to airfields, photographer unknownCONDITION REPORT - MAINLY 5 AND A HALF INCH X 3 AND A HALF INCH, APPROX 170 TYPES OF AIRCRAFT Appear to be originalMost of them are named on the reverse
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