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Lot 36
Mid-grade yellow metal dress ring centring a lozenge shaped red stone in rub-over setting, the surround highlighted with 12 small round cut red stones and raised between split shoulders to a plain polished shank, marked to edge with a French eagle's head control mark for 750, g/w 5.3gms, size L
Lot 61
9ct gold amethyst single stone ring featuring an oval faceted amethyst in rub-over setting, raised between pierced heart shaped shoulders, size N, together with a 9ct sapphire and diamond half eternity ring, alternate set with six small sapphires and five small single cut diamonds, size Q (2)
Lot 64
Mixed Lot: 9ct gold onyx and diamond set panel ring, a gents 9ct gold signet ring engraved with a geometric design, a 9ct gold sapphire set designer ring, together with a mid-grade yellow metal ring, the square panel highlighted with red translucent enamel detail between descending chased shoulders (centre stone missing) (a/f), g/w 14.7gms
Lot 134
A Chinese gilt metal weight, in the Song style, in the shape of a recumbent mythical beast, 5.5cm long, and a Han style stone carving of a seated bear, with its left arm raised, 4.3cm high, and a wood pendant, of a twin fish, 4.8cm long (3)Condition report: Weight - gilt rubbed, surface scratches. Bear - chips in various locations.Fish - no obvious faults.
Lot 135
A Chinese jade carving,in the Ming style, of a recumbent Buddhist lion holding a brocaded ball, 7.5cm long, and another jade mythical beast, turning its head to the left, 6cm long (2)Condition report: Buddhist lion - the stone with small cracks. Mythical beast - minute chips and russet inclusions to stone.
Lot 147
A Chinese inside-painted rutilated quartz snuff bottle, 20th century, of tapering form, painted with numerous goldfish in red and black, dated year of Bingyin (1926) with the signature of Ye Zhongsan (1875-1945), the stone densely packed with black tourmaline 'needles', the silver stopper inlaid with a coral cabochon, 10cm high (2)Condition report: Chips and cracks to body, small chips to rim and foot rim.
Lot 135
5th-6th century AD. A stone bust edge carved in high relief on a roundel with beaded border, representing an imperial magistrate wearing a mantle (chlamys) fastened at the right shoulder and folded over the left shoulder leaving a long sleeved tunic visible, shaven face with almond-shaped eyes and incised pupils, long parted hair curled with the use of the Roman calamistrum. Cf. Daim, F., Ladstätter, S., Bizans Döneminde Ephesos, Istanbul, 2011, for the typology of sculptures; see Vermeule, C., ‘A Greek Theme and its survivals: the Ruler’s shield (tondo image) in Tomb and Temple’ in Proceedings of the American Philosophical Society, vol.109, No.6 (Dec.10, 1965), pp.361-397; Various, Il Museo delle civilta’ Anatoliche, Ankara, 1988; cf. Scrinari, V.S.N., Sculture Romane di Aquileia, Roma, 1972, figs.606-610. 490 grams, 10.7cm high (4 1/4"). From the late Alison Barker collection, a retired London barrister; from her collection formed 1960s-1990s. The representation of mythological characters and of high officials of the state inscribed in roundels (imagines clipeatae) was well-known in Roman art, originally derived from the Greek theme of the ruler’s shield in the tombs and temples. Splendid funerary imagines clipeatae of Roman Magistrates and citizens are preserved in the Museo Ostiense (Inv. 56), dated to the 1st-2nd centuries AD. Roundels with portrait busts are well known from Palmyra (MFA Boston, inv. no.10.78; Budapest, Fine Arts Museum, inv. no.8431), but wonderful specimens in bronze are also known from Banias (Syria, in Damascus Museum) and from Ankara (Trajanic bronze tondo from Roman Ancyra, see Various, 1988, p.157, fig.224"). These images were even more abundant in the late Empire: it is worth remembering the early Theodosian imago clipeata of a warrior in the Staatlichen Kunstsammlungen Dresden (Hm 305, late 4th century AD) or the 4th century sculptures of gods from Aquileia. Our imago clipeata could come from a sarcophagus or from a public or funerary monument on which the owner was represented, maybe together with his wife or family. Fine condition.
Lot 146
11th-13th century AD. A rectangular marble floor panel recalling similar workmanship to the floor of the Sistine Chapel, comprising a large central panel composed of a chequerboard design of alternating floral motifs and plain porphyry squares, surrounded by four roundels of green, porphyry and blue, each with a bicolour border; each corner with an L-shaped panel with eight-petalled flowers on a geometric background. See Boito, C., Architettura Cosmatesca, Torino, 1860; Hutton, E., The Cosmati, The Roman Marble Workers of the XIIth and XIIIth Centuries, London, 1950; Tosca, P., Storia dell’Arte Italiana, il medioevo, vol. III, Torino, 1965; Matthiae, G., 'Componenti del gusto decorativo cosmatesco,' in Rivista dell'Istituto Nazionale di Archeologia e Storia dell'Arte, vol. I, 1952, pp.249-281; Cigola, M., 'Mosaici pavimentali cosmateschi. Segni, disegni e simboli,' in Palladio, Nuova serie, anno VI n. 11, giugno 1993, pp.101-110; the composition of the mosaic recalls the floors of the most important churches of Rome, like the floor of the Sistine Chapel (realised probably in the 14th century for the previous building or Cappella Maggiore), or that of Santa Maria Maggiore (1145-1153 AD), San Giovanni in Laterano (14th century AD), Saint Clement (1099-1120 AD), Santi Quattro Coronati (13th century AD), Santa Croce in Gerusalemme (12th century AD) and many others. 30.5 kg, 79cm (31"). English art market in the 1990s. Dean private collection. Property of a London gentleman. Accompanied by an archaeological expertise by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11068-183010. The Cosmatesque style was a characteristic type of ornamentation of Eastern Roman origin (opus alexandrinum) used by the Roman marble makers of the 12th and 13th centuries AD. It embellishes floors, ciboriums and cloisters of churches by means of polychrome marble inlays of varied and imaginative geometric shapes. The wider use of this decoration began in the 12th century, at which time techniques were improved: the Cosmati floors were made with pieces of stone cut in various shapes and sizes, a property quite different from the mosaics in opus tessellatum, in which the motifs were made from small units all having the same size and shape, or from the opus sectile, intended to create representations with pieces of multicoloured marble cut out and arranged for this purpose. The stones used by Cosmati artists were often material salvaged from the ruins of ancient Roman buildings.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition, one corner absent.
Lot 175
20th-19th century BC. A part of a stone tablet carved from a rare sedimentary stone, preserving only the beginnings of seven lines of standard titles and epithets, the pattern of the lines indicates that it is probably pertaining to a king of the Dynasty of Isin: '… Shepherd [ … Nipp[ur … Provider of U[r king [mighty king [of Isin king of S[umer and Akkad.' 308 grams, 10.3cm wide (4"). Collection of a deceased gentleman; thence by family descent, pre 1988. Owing to its rarity, this sedimentary stone may have been imported from a location outside of ancient Mesopotamian territory. The item is accompanied by an information sheet which reads 'Cuneiform characters, written in neatly-arranged wedges, were developed from pictographic proto-writing that was adapted in the early Uruk period (circa 4000-3100 BC"). Cuneiform tablets were first employed to record accounting transactions, trades and administrative dedications to deities. Cuneiform tablets, with inscriptions starting with lugal (king), might have been used for an educational purpose, to enable students to have practise cuneiform writings.' Fair condition.
Lot 177
c.20th-17th century BC. A stone fragment with one dressed face bearing the remains of four columns of inscribed text; accompanied by a handwritten and signed scholarly note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Fragment of stone vessel, dark stone, with cuneiform inscription: '[... servant of Warad- [... son of Ada[llal...] servant of Shu .[...' Old Babylonian, c.2000-1700 B.C.' 74 grams, 52mm (2"). Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples. Accompanied by a copy of a hand written and signed scholarly note by Professor Wilfrid George Lambert. Fair condition.
Lot 199
20th-16th century BC. A terracotta plaque with moulded image of Humbaba (or Huwawa), the lion-faced demon, standing with his hands clasped to his midriff, legs splayed; held between membrane in a modern frame. See Aruz, J., Art of the First Cities. The Third Millennium B.C. from the Mediterranean to the Indus, New York, 2003, fig.112, p.482, for an image of the death of Huwawa. 71 grams, 10.2cm (425 grams total, 18.3 x 18cm including case) (4 (7 x 7)"). Family collection since the 1970s. Property of a London gentleman. Property of a UK collector. Humbaba is possibly a form of the Elamite god Humban. He appears in the Epic of Gilgamesh as a guardian of the cedar forests sacred to the god Enlil and is described as a giant protected by seven layers of terrifying radiance. He was eventually killed by Gilgamesh, and his companion Enkidu, by having his head cut off. In art, Humbaba is typically portrayed as a human-bodied figure with lion's claws for hands, a monstrous face, long hair and whiskers. Babylonian models of the face of Humbaba were connected with divination and some are inscribed with omens, but they have also been found placed high up on walls acting as magical charms; the face of Humbaba can be seen carved in stone and set into the wall to one side of the entrance of the temple at Tell al-Rimah, Iraq. [No Reserve] Fair condition.
Lot 200
20th-16th century BC. A D-section ceramic plaque with male deity's face, possibly Humbaba, modelled in the half-round, featuring a brow-band, lentoid eyes, snub nose, scaphoid mouth and short beard; held between membrane in a modern frame. Cf. Godard, F., The Art of Iran, London, 1965, pl.21. 111 grams, 85mm high (249 grams total, 13 x 13cm including case) (3 1/4" (5 x 5")). Mayfair gallery, 1980s. Property of Mr. A.K., acquired London, UK. With Artemission, London, UK, in 2018. Property of a UK collector. The head is likely to be Humbaba, who is possibly a form of the Elamite god Humban. He appears in the Epic of Gilgamesh as a guardian of the cedar forests sacred to the god Enlil and is described as a giant protected by seven layers of terrifying radiance. He was eventually killed by Gilgamesh, and his companion Enkidu, by having his head cut off. In art, Humbaba is typically portrayed as a human-bodied figure with lion's claws for hands, a monstrous face, long hair and whiskers. Babylonian models of the face of Humbaba were connected with divination and some are inscribed with omens, but they have also been found placed high up on walls acting as magical charms; the face of Humbaba can be seen carved in stone and set into the wall to one side of the entrance of the temple at Tell al-Rimah, Iraq. [No Reserve] Fair condition.
Lot 26
4th-5th century AD. A carved stone funerary stela bearing the figure of a man in low relief, his hands raised in the orans attitude of worship, dressed in a long fringed shroud (himation), the right shoulder bare, two jackals at his sides representing Anubis to accompany him on his journey to the afterlife; dedication inscribed below: '..?A????C ????c' ('...paatris, prematurely dead'); mounted on a custom-made display stand. See Hooper, F.A., Funerary stelae from Kom Abou Billou, The University of Michigan, Kelsey, 1961; Wagdy, A.M., El-Ebiary, H., 'New Funerary Stelae from Kom About Bellou' in Bulletin de l'Institut francais d'archeologie orientale, Le Cairo, 2011, no.111, pp.371-384, figs.7, 8. 764 grams, 17.5 x 11.5cm (1.1 kg total, 24cm including stand) (7 x 4 1/2 (9 1/2)"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. Elements of Greek, Roman, and Egyptian religious practice converge in this stela, making it an important object of Romano-Egyptian material culture. These stelae show a combination of two iconographical traditions, arranged according to the demands of the Graeco-Egyptian mixed population. More than two-hundred similar stelae were excavated by the Kelsey Museum Archaeologists in the city of Terenouthis. Unfortunately, the name of the owner is not complete. However, the name ?????? (Tatris) is quoted many times by Hooper (see above"). [No Reserve] Fine condition, repaired.
Lot 31
Early Dynastic Period, 3rd millennium BC or later. A carved breccia vessel with piriform body, everted rim, two integral loop handles and discoid foot. Cf. The British Museum, museum number EA36358, for similar. 350 grams, 10cm high (4"). UK art market in the 2000s. London, UK, art market. Property of a London gentleman. Stone vessels were made in the Nile Valley from as early as the 4th millennium BC using a variety of stones, such as diorite, calcite, volcanic ash and pink limestone, that were mostly quarried in the western desert. Production was at its most popular between the Naqada Period, (4000 BC) to the end of the Old Kingdom (2181 BC"). They were labour-intensive pieces that were made by chipping a block of stone into a rough shape and then hollowing it out using a hand drill, which, judging from artistic representations of workers, composed of a piece of wood weighted at the top by two stones tied to it, with a borer, probably of flint, slotted into its base. Sand was used as an abrasive for both the inside and outside of the vessels. The exterior was polished by hand probably by using sand and oil. [No Reserve] Fine condition.
Lot 33
Late Period, 664-332 BC. A polished stone alabastron with elongated piriform body, collared shoulder, short, tubular neck and flat base; mounted on a custom-made display stand. 53 grams, 11.2cm high (196 grams total, 14cm including stand) (4 1/2 (5 1/2)"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. [No Reserve] Very fine condition, repaired.
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398886 item(s)/page