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Lot 10
THREE 9CT GOLD RINGS, the first a heart shaped signet ring, with sunset design, polished band, hallmarked 9ct Birmingham, ring size L, the second a five stone ring set with three small circular cut blue sapphires and two single cut diamonds, to a polished thin band, hallmarked 9ct Birmingham, ring size O, together with a small thin band knot ring, hallmarked 9ct Birmingham, ring size G, approximate gross weight 4.7 grams (condition report: general light wear, stones intact at time of cataloguing, would benefit from a gentle clean, overall condition good)
Lot 345
A GROUP OF CERAMICS, comprising a large blue and white vase decorated with a scene of Abbey ruins, height 20cm, a two handled Victorian loving cup 'The Farmer's Arms' with the inscription 'God Save The Plough' on one side 'Industry Produces Wealth' on the other, a Belleek vase, height 13cm, a Royal Copenhagen- 4459 square pin dish (chipped on one corner), a pot lid with a transfer print of Lord Nelson, a carved stone goat, a small Japanese mustard pot and a Limoges 'Fabergé' style ceramic egg (8) (Condition Report: loving cup has crazing inside, pot lid is heavily crazed)
Lot 404
A COLLECTION OF CERAMICS AND GLASSWARE, comprising an oval silver gilt framed mirror, a boxed Banco Nacional Ultramarino porcelain hand painted dish, a brass handled copper frying pan, a boxed Pandora bracelet, Royal Doulton 'Noah's Ark' egg cup, a black and white wallet, an Aynsley 'Orchard Gold' trinket dish, an oriental carved stone wax stamp in the form of entwined dragons, a heart shaped Wedgwood 'Kutani Crane' pot, a small Zsolnay pin dish, two West German Goebel figures 'Mountaineer' and 'Surprise', a large Ikea red glass vase, etc (Qty) (Condition Report: most pieces in good condition)
Lot 418
TWO BOXES OF ASSORTED SUNDRIES, to include a pair of ceramic bookends in the form of a camel, seventeen stone marbles and nine vintage glass marbles, nine vintage metal pin badges, a mahogany cased Ever-Ready Electric coil, model 290 made by Eveready, a Toshiba portable DVD player, a cast bronze Oriental tea pot, an Agfa 'Billy-Record' camera, a vintage Bush radio, binoculars, etc. (s.d) (2 boxes)
Lot 426
THREE BOXES AND LOOSE CERAMICS AND GLASS WARES, to include a blue dipped Wedgwood Jasperware hair receiver and twin handled sugar bowl, a Beneagles Scotch Whisky decanter in the form of a curling stone, a Royal Albert Provincial Flowers 'Prairie Crocus' teacup and saucer, a boxed set of six Newgrange Adare shot glasses, six Wedgwood Embossed Queens Ware tea plates and a dinner plate, a carved alabaster tile, a small art glass bowl with controlled bubbles, etc (3 boxes + loose) (sd)
Lot 5
FOUR GEM SET RINGS, to include a five stone amethyst ring, hallmarked 9ct Sheffield, ring size O, an oval cut aquamarine, flanked with small single cut diamond accents, pinched shoulders leading onto a polished band, hallmarked 9ct Sheffield, ring size M, a tanzanite set wishbone ring (one stone missing), stamped 375, ring size O, together with an amethyst and single cut diamond half eternity ring, hallmarked 9ct Sheffield, ring size M, approximate gross weight 7.6 grams (condition report: general light wear, one stone missing from the wishbone ring, would benefit from a gentle clean)
Lot 50
A BOX OF SILVER AND COSTUME JEWELLERY, to include a pair of carved blue john fluorite drop earrings, with white metal fish hook fittings, a white metal butterfly wing bar brooch, a silver ingot pendant necklace, hallmarked Sheffield 2000, suspended from a fine curb link chain with spring clasp, an amber cabochon pendant, stamped 925, suspended from a fine rope twist chain with spring clasp stamped 925, two white metal chains each with an imitation pearl pendant, a white metal brooch in the form of two crossed swords with a helmet, unmarked, a childs christening bangle stamped '9ct gold front', a white metal blue cabochon stone pendant stamped 'Sterling' suspended from a rope twist chain with spring clasp stamped 'Sterling', a white metal articulated floral pendant necklace, a silver Victorian memorial brooch, hallmarked 'S. Bros' Birmingham 1884, together with boxes of costume jewellery pieces, imitation pearls, brooches, rings, white metal marcasite brooches, etc
Lot 64
A COLLECTION OF SILVER AND WHITE METAL GEM SET JEWELLERY, to include a tiger's eye bangle, Swedish hallmarks, 1973, sponsors mark VJ, bangle signed Vicson, a white metal printed ceramic pendant depicting a woodland scene, a green chalcedony bracelet stamped Mexico Alpaca, an opal single stone ring, a rose quartz pendant, a tiger's eye pendant, two further pendants, a white metal fancy link chain and a hardstone key ring, approximate gross weight 177.4 grams (condition report: overall condition good to fair, scratches, scuffs, tarnish, light abrasion present)
Lot 74
AN EARLY 20TH CENTURY 9CT YELLOW GOLD SAPPHIRE AND DIAMOND THREE STONE RING, the pink sapphire and diamond point sides, with scroll engraved sides, to the plain polished tapering band, hallmarked Chester, 1916, approximate ring size N, approximate gross weight 2.8 grams (condition report: overall condition very good)
Lot 80
A GARNET THREE STONE RING, set with a principal oval garnet cabochon, and two circular garnet cabochon sides, each within a collet setting, to the tapering plain polished band, stamped 18ct, approximate ring size O, approximate gross weight 5.3 grams (condition report: overall condition very good, garnets well matched, solder line visible to shank)
Lot 82
A 9CT YELLOW GOLD GARNET SINGLE STONE RING, the oval garnet cabochon, within a collet setting, to the split scrolling shoulders, grooved sides and plain polished grooved band, hallmarked Sheffield, 1989, approximate ring size G, approximate gross weight 4.1 grams (condition report: overall condition very good, inclusions visible to garnet)
Lot 9
TWO 9CT GOLD GEM SET RINGS, the first a yellow gold, half eternity ring set with three blue sapphires (one stone is missing) interspaced with three round brilliant cut diamonds, estimated total diamond weight 0.21cts, each in a shared collet setting, leading onto a polished band, hallmarked 9ct Birmingham, ring size N, the second a wish bone ring with a row of channel set diamonds, estimated total diamond weight 0.09cts, leading onto a polished band, hallmarked 9ct Birmingham, ring size M, approximate gross weight 4.0 grams (condition report: one stone is missing, general light wear, overall condition good)
Lot 101
Ptolemaic Period, Ca. 323 BC. An ancient Egyptian faience mummiform ushabti wearing a plain tripartite wig and plaited divine beard. The wig is worn low on the forehead and the ears, which are fairly well modelled, protrude over the side lappets of the wig. The arms are crossed on the chest, and the hands hold a pick and hoe. The eyes are quite large and the nose is broad. The figure stands against a dorsal pillal and upon a trapezoidal base. The Egyptians assumed even after getting to the afterlife that life would not be easy, so they took magical figures with them called shabtis to ask a servant to make their afterlife as easy and trouble-free as possible. The idea of shabtis first appeared as wax figures in the First Intermediate Period. These gradually moved onto figures formed of stone and wood in mummiform shape. By the time of the New Kingdom during the Reign of Thutmose IV these became more stylised and would carry agricultural tools to assist them plough the fields, bring in the harvest and fill in the water channels. These figures were an important object in the tombs of the deceased and by the time of the Third Intermediate Period, tombs would carry them in chests in large supplies. These shabtis would come alive on the command of the dead and were called upon with magic from the Book of the Dead.Size: L:105mm / W:30mm ; 80gProvenance: Private London collection; ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
Lot 102
Thinite Period, 1st-2nd Dynasty, Ca. 3100-2700 BC. An early marble vessel in piriform amphora-like shape which widens towards the neck with two central suspension holes for attachment. A rare object with beautiful light marble stone. For other examples of early Egyptian vessels see El-Khouli, A.; Egyptian Stone Vessels Predynastic Period to Dynasty III. Provenance: NYC Collection; Ex. Edward Merrin Gallery 1970s-1980s.Size: L:Without Stand 77mm / W:39mm ; With Stand 225.53 gProvenance: London Art Market, Ex New York Gallery pre-2000
Lot 19
New Kingdom, Ca. 1550-1070 BC. The vessel of piriform shape smoothly tapers to a narrow flat base, standing on an everting foot, with a short cylindrical neck and thick, flat disc rim. Cf. el-Khouli, A.; Egyptian Stone Vessels Predynastic period to Dynasty III.Size: L:128mm / W:80mm ; 610gProvenance: Property of London Ancient Art Gallery; Ex. New York Gallery, acquired around 2000.
Lot 2
Ca. 664-332 BC, Late Dynastic Period.An Ancient Egyptian stone statuette depicting the god Osiris. He is shown seated in mummiform with a braided divine beard, an atef-crown, and a peaceful, idealised face. He is posed with the arms folded across the chest holding a crook andflail. Osiris is the most significant and important god in the Egyptian pantheon. He is known firstly as a god of fertility, then as a god of the underworld. In his role of lord of the underworld, he was associated with a pharaoh and is, thus, generally portrayed as a deceased pharaoh, as seen on this figure. This very important example was exhibited at Kres- ge Art Gallery, Michigan State University, 1985 to 2002. Published: J. Eisenberg, Art of the Ancient World, vol XXII (2011), no.158.We are a dynamic company proud of the innovations we can bring to the traditional Ancient Art market. This is one of the first catalogues in the world to offer NFTs/DOTs of Ancient Art. Apollo Art Auctions and Coinllectibles, world leaders in digital art markets, have started working on this collaboration to bring Ancient Art together with digital content. Lots 1 to Lot 5 in this catalogue have been specially chosen due to their beauty and fantastic provenance to be transformed into DOTs. The buyer of each lot will receive both the physical and digital assets, which gives ownership over the DOT that making it a liquid access on both traditional and virtual marketplaces.From Coinllectibles Coinllectibles™️Coinllectibles Coinllectibles™️ is a technology company supporting the collectibles industry with a focus on rare memorabilia and artworks that exist and have intrinsic value in the real world, whether tangible or intangible in nature. Coinllectibles™️ applies blockchain, marketplace, metaverse and DOT technologies as tools to enhance the real-world collectibles industry. The technology underpinning DOTs (digital ownership tokens) has multiple functional use cases that Coinllectibles™️ is applying to areas including art and collectibles areas. A DOT (Digital Ownership Token) is a proprietary DOT format that provides a gold standard of rights and title of ownership of a digital asset, securely underpinned by smart contracts and legal documents stored on the blockchain, each with a unique identification code and metadata, also beneficial title to the relevant Collectible to which it is pegged.Size: L:145mm / W:75mm; 580gProvenance: Property of a Central London Gallery, acquired by a British collector, ex-private Bandy collection, Rochester, Michigan, USA; ex Royal Athena Gallery, 1986. Exhibited: Olympia Art & Antiques fair, London June 2022.
Lot 228
Ca. 300 BC. An amphora-shaped pendant of a central wired shaft threaded with a piriform coral stone secured at the bottom with a small bead. To the top, a suspension ring, flanked by a pair of S-curved dolphins with fanned tails. This item is in wearable condition and it comes with a modern necklace cord. The jewellery of the Hellenistic period is characterized by the use of gold and filigree work, which were expertly used to create exquisite pieces like this example.Size: L:21.9mm / W:10.7mm ; 2.07gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.
Lot 249
Ca. 100 AD. A gold finger ring composed of a slender round hoop with an applied bezel cell set with a stone intaglio engraved with gryllos - a grotesque combination. A creature consists of a clean-shaven male, facing left, and an equine protome with a curly mane. For a comparison see The British Museum, Museum number 1913,0307.101.Size: D:16.92mm / US: 6 1/2 / UK: M 1/2; 4gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
Lot 251
Ca. 100-300 AD. A beautiful gold finger ring with a circular hoop and a slender bezel set with a stone intaglio engraved with a depiction of partially robed Venus, turned left. The ancient Roman deity of beauty, love, desire, and sex, Venus is often perceived as the equivalent of the Greek goddess Aphrodite. However, like in the case of some of the earlier mentioned Roman gods, Venus as a divine entity possibly epitomized more aspects than her Greek counterpart – since she was also regarded as the goddess of victory and fertility (and possibly even prostitution). In any case, it was the embodiment of the concepts of beauty, sex, and desire that formed the core of her attributes, so much so that the Latin noun venus also meant ‘sexual love’ or sexual desire.Size: D:14.68mm / US: 4 3/4 / UK: J; 2gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s
Lot 347
Ca. 1300-1400 AD. A slender gold stirrup-type ring with a carinated and incised hoop, and a decorative bezel with lapis lazuli stone to the apex.Size: D:13.67mm / US: 2 1/2 / UK: E; 2gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s
Lot 350
Ca. 1100-1300 AD. A stunning pair of gold earrings each with a wide hoop, fine catch plate, and circular openwork body comprising a cross design framed by four concentric registers of elegant filigree decorations arranged in geometric patterns. Suspended from the body are three filigree pendants each threaded with three stone beads in various colours. The medieval empire of Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the royalty and aristocracy, or in bronze for people further down the social ladder. These beautiful items may once have belonged to a Byzantine noblewoman. Excellent condition; wearable.Size: L:67mm / W:33mm ; 10.83gProvenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970-80s.
Lot 361
Qataban, Ca. 300 BC - 100 AD. An alabaster funerary stele with a slightly tapering profile towards the bottom, with a high relief bovine head projecting from the slab. The animal's head features ribbed brows, eyes down, small horns, and pronounced nostrils. Bands of mineral inclusions flow across the surface of the stone. For a similar example, see Sotheby's, Ancient Sculpture and Works of Art Part I, 7 December 2021, Lot 12.Size: L:250mm / W:130mm ; 3.36kgProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 370
Ca. 618–907. Chinese Tang Dynasty (or later).. A beautiful marble torso of a bodhisattva elegantly adorned with an astonishing jewelled harness made up of long strands of pearl-like clusters and multifaceted beads. The pearl harness descends along the torso’s spine until its waist. The pearl cabochons derive from Central Asian traditions.A scarf is draped diagonally around the back of the torso from the right-hand side shoulder to the left-hand side hip. Item comes with a professional historical report from Ancient Report Specialists. Size: L:365mm / W:335mm; 27kgProvenance: Collection of Chinese Stone Figures. Ex Collection of Roger Moss; The C Roger Moss OBE, 1936 - 2020 collection formely the President of "The oriental ceramics Society", these stone sculptures were acquired during his life in Hong Kong 1980 - 2003.
Lot 371
Ca. 618–907. Chinese Tang Dynasty (or later).. A beautiful marble statue of a seated bodhisattva depicted wearing voluminous robes elegantly draped over his wide shoulders and broad, muscular chest and cascading in deep folds over his pendant legs, falling to the sides of his seat and continuing down his back; the remains of his left arm resting on one thigh.Bodhisattvas are common figures in Buddhist literature and art. A bodhisattva is one who seeks awakening (bodhi) — hence, an individual on the path to becoming a BuddhaPerhaps the most striking feature of this marble fragment is its realistic portrayal of a seated figure revealed beneath drapery. The remains of his thick neck and developed pectoral muscles appear above his inner garment that crosses from his left shoulder downwards to the right hip. The voluminous outer garment spreads in unevenly spaced pleats and folds that suggest the natural effects of gravity as they fall across the arms, pendant legs and the front edge of the seat supporting him. Item comes with a professional historical report from Ancient Report Specialists. Size: L:300mm / W:220mm; 15.9kgProvenance: Collection of Chinese Stone Figures. Ex Collection of Roger Moss; The C Roger Moss OBE, 1936 - 2020 collection formely the President of "The oriental ceramics Society", these stone sculptures were acquired during his life in Hong Kong 1980 - 2003.
Lot 374
Ca. 100-300 AD. A schist stone head of a Buddha. He is depicted with wavey hair gathered up in a topknot above a headband. His face characteristically has drooping, half-closed eyes, characteristic of his depictions under the Kushan Dynasty, and he is shown with a slender, wavey moustache above his full lips. His forehead is decorated with the dot called the Urna, which represented the third eye that saw beyond the material limits of the world. The Buddha form was used to depict both the original Buddha Gautama as well as anyone who became a Buddha by achieving Nirvana. The Buddha was not expressed in sculpture in Gandhara before the 1st century AD, before which he was only alluded to with symbols. From this time though, Gandharan art depicted Buddhas with a captivating mix of traditional Buddhist iconography and style, and the naturalism and soft features of Classical art, since this region was greatly influenced by the conquests of Alexander the Great many centuries earlier and the subsequent Greek settlers. For more information on Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press.Size: L:390mm / W:265m; 12.90kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 431
Qing Dynasty, Ca. 1644-1912 AD . Stunning upright Chinese scholar stones (also known as Gong Shi, meditation stone and spirit rock) of significant mass and volume is gracefully balanced on the wood display stand. The dark stone, with the pronounced white veins and wrinkled surface texture. Selected by human, this stone features an extraordinary vertical mushroom form with a sky window on the top part. For a similar see The Metropolitan Museum. 2009.512.1a.bSize: L:720mm / W:750mm; 30+kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Lot 74
Ca. 100-200 AD. A beautiful cast-bronze oil lamp in the shape of a right foot wearing a sandal. The lamp has two openings, each finely detailed with foliate designs. The handle of the lamp is in the form of an acanthus leaf, with a ring at the bottom, and the spout and neck are decorated in the form of buds.? The hole where a wick would be placed protrudes beside the foot's big toe. The hole for filling runs through the hollow ankle. The presence of two small loops might suggest, that this lamp was designed for suspension. This type of lamp was widespread in the first two centuries AD. It is likely that they were associated with the Eastern cult of Serapis, and it is no coincidence that this type of lampstand was popular among the legionaries positioned on the outskirts of the Empire, who were among the first to adopt and then spread the cults of Eastern deities among the population of the Roman Empire. Item comes with a professional historical report from Ancient Report Specialists. For a similar example, see Christie's, Live Auction 2007, Antiquities, 4 Jun 2008, Lot 252. Scientific sources : cf. Siegfried Loeschcke, Lampen aus Vindonissa, Zurich (1919), pl. XXIII:1084-1085, p. 161F for a discussion; Bailey, Donald M. A Catalogue of the Lamps in the British Museum, IV, Lamps of Metal, and Stone, and Lampstands. London: British Museum Press, 1996.Size: L:50mm / W:165mm ; 410gProvenance: Property of an European collector; bought from a UK gentleman collection, formed in the 1960s-1990s.
Lot 95
New Kingdom period, Ca. 1292 -1077 BC, 19th - 20th Dynasty, Ramesside Period. A mummiform ushabti formed of painted pottery is wearing a bipartite or duplex wig that is painted black. The upper part has faint striations in the modelling at the front, and the long side lappets have echeloned curls falling by the sides of the face. The back of the wig shows no details. The arms are crossed holding a pair of hoes. The Ancient Egyptians believed even after getting to the afterlife that life would not be easy. In result, they took magical servant figures with then called shabtis. The dead would ask the shabti make their afterlife as easy and trouble-free as possible. Shabtis were made solely to do manual labour for the deceased in the afterlife. As a result, they were commonly depicted with arms crossed, holding hoes and baskets. Towards the end of the Pharaonic period, they had become so necessary and elaborate that some tombs contained one worker for every day of the year and thirty-six overseers, each responsible for ten laborers The idea of shabtis first appeared as wax figures in the 11th Dynasty, during the First Intermediate Period, (Staatliches Museum Ägyptischer Kunst, Munich ÄS 6085). These gradually moved onto figures formed of stone and wood in mummiform shape. By the time of the New Kingdom during the Reign of Thutmose IV these became more stylised and would carry agricultural tools to assist them plough the fields, bring in the harvest and fill in the water channels. These figures were an important object in the tombs of the deceased and by the time of the Third Intermediate Period, tombs would carry them in chests in large supplies. These shabtis would come alive on the command of the dead and were called upon with magic from the Book of the Dead. J.-F. Aubert/ L. Aubert, Statuettes _gyptiennes, chaouabtis, ouchebtis, Paris 1974, pp. 122-123. W. M. F. Petrie, Shabtis, London 1935, pl. XXXV, no. 240. M. J. Raven, A transom-window from Tuna el-Gebel, in: OMRO 69, 1989, pp. 51-64. H. Schneider, Shabtis. An introduction to the history of ancient Egyptian funerary statuettes, Leiden 1977, I, p. 206. R. Weill, Quelques types de figurines fun_raires des XIXe et XXe dynasties, in: Mon. Piot 25, 1921/2, pp. 419-438. The World Museum, Liverpool. https://www.liverpoolmuseums.org.uk/artifact/shabti-of-khonsuSize: L:210mm / W:60mm ; 245gProvenance: Private London collection; ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
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