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Lot 159
VICTORIAN & LATER 9CT GOLD & OTHER JEWELLERY to include a 9ct gold bar brooch set with single aquamarine colour stone, 9ct gold ring with emerald cut green stone, size mid R - S, gilt metal bar brooch with turquoise and amethyst effect settings, other bar brooches along with ivory and amber type necklaces
Lot 132
1st-2nd century AD. A high-quality lamp stand of heavy construction with impressive detailing, the tripod base modelled as lion paws with separately modelled toes and claws, legs with floral detailing; fluted shaft with floral finial, female theatre masks in between the emerging petals; a circular lamp-tray above with moulded detailing; the footed oil lamp with elongated body, splayed and fluted nozzle with rounded tip, heart-shaped filling hole to the discus, wide curving handle with a theatre mask finial, portraying a tragic female mask with incised detailing, the palmette below the mask absent. See Bailey, D.M., A catalogue of the lamps in the British Museum, IV, Lamps of metal and stone, and lampstands, London, 1996; Roberts, P., Life and death in Pompeii and Herculaneum, London, 2013; for an identical candelabrum in the British Museum see Bailey, 1996, nn.Q3871-Q3882, 3911; for similar bronze lamps in British Museum, see Bailey, 1996, nn.Q3669 (intact) and Q3670 (only the identical mask is preserved).7 kg total, 1.3m including lamp (51 1/4"). Property of an English collector; acquired in the Netherlands before 2000; accompanied by an archaeological report 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.10390-169265. A number of similar candelabra have been found at Pompeii and on the other sites that were buried by the eruption of Mount Vesuvius in 79 AD (Roberts, 2013, p.120"). Usually the tray, the top, the shaft and the feet were all separately made and joined with rivets and bolts. An oil lamp, made of either bronze or terracotta, would have stood on the bell-shaped top. These bronze lampstands often have elaborate feet and the shaft, as in this case, was decorated with fluting, or alternatively with a knobbed finish, imitating a wooden stem or branch. The lamp surmounting this candlestick is of Loeschke type XX, a type which have splayed, fluted nozzle and mostly upcurved handles. Many of these lamps were made in Italy, but some of them are found in the East. [A video of this lot is available to view on TimeLine Auctions website.] Very fine condition.
Lot 222
4th-3rd millennium BC. A jasper cylinder seal with frieze of women with staffs; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Cylinder Seal of Black Stone 19 x 18 mm. The design is a frieze of four walking women with plaits and wearing longish robes each holding up a standard with pear-shaped top. This is a Jemdet Nasr seal, from Mesopotamia or south-west Iran, c. 3000 B.C. It is a less common design and is in unusually good condition.' 13.7 grams, 19mm (3/4"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s; item number W-613; academically researched and catalogued by the late Professor Lambert in the early 1990s; accompanied by an original typed and signed scholarly note by Professor Wilfrid George Lambert. Very fine condition.
Lot 223
2nd millennium BC. A white jasper cylinder seal with frieze of figures and cuneiform inscription; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Cylinder Seal of White Marble 23 x 15 mm. A presentation scene is shown. On the right is a seated deity in hat and long robe, on padded stool, raising one hand. Facing him stands a worshipper with bare head and wearing long robe, raising one hand. On the left is a Lamma goddess raising both hands. There is a crescent in the sky and three fillers: 'vessel', 'ball-staff' and monkey. A three-line cuneiform inscription apparently named the ancient owner, but that has been largely scraped off, no doubt by a second owner in the ancient world. This is an Old Babylonian seal, c.1900-1600 B.C. It is in an unusual stone for the period, but is worn apart from the erased inscription.' 10 grams, 23mm (1"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s; item number W-430; academically researched and catalogued by the late Professor Lambert in the early 1990s; accompanied by an original typed and signed scholarly note by Professor Wilfrid George Lambert. Fine condition.
Lot 227
23rd-22nd century BC. A substantial limestone cylinder seal with heroes and bulls; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Cylinder Seal of Grey Stone 32 x 21 mm. The design shows a contest scene of two matching pairs: hero in short kilt grappling with a rearing buffalo. To the left is a rearing lion holding up a 'gate-post' standard. This is an Akkadian seal, c. 2300-2200 B.C., with a classic design, reflecting the military might of the ruling dynasty: the heroes fight big animals with their bare hands. The seal is medium size and in fine condition. The 'gate-post' was the symbol of the goddess In?nna.' 25.1 grams, 32mm (1 1/4"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s; item number W-633; academically researched and catalogued by the late Professor Lambert in the early 1990s; accompanied by an original typed and signed scholarly note by Professor Wilfrid George Lambert. Very fine condition.
Lot 228
23rd-22nd century BC. A substantial jasper cylinder seal with combat scenes; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Cylinder seal of Black and Green Stone 34 x 22 mm. A contest scene of two symmetrically arranged pairs is shown. A rearing lion is biting the neck of a rearing bull with human face, which is unrinating [sic] in fright. A band of three lines connects the bulls and a tree with bushy top serves as a terminal. This is an Akkadian seal from Mesopotamia or south-west Iran, c. 2300-2200 B.C. It is large and in very good condition.' 27.9 grams, 34mm (1 1/4"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s; item number W-441; academically researched and catalogued by the late Professor Lambert in the early 1990s; accompanied by an original typed and signed scholarly note by Professor Wilfrid George Lambert. Very fine condition.
Lot 229
27th-26th century BC. A substantial serpentine cylinder seal with contest scene; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Cylinder seal of Black Stone 31 x 28 mm. The design is a contest frieze of nine creature, [sic] all standing on their hind legs. Two heroes, the one nude save for triple-stranded belt, the other with bird's wings at the waist, are both succouring a horned animal on each side and the remaining space is filled with two crossed lions and a hero with strange frontal face and spiky hair. A tall pole and another item are fillers. This is a seal in the Early Dynastic II style, from North Mesopotamia or eastern Syria, c. 2700-2600 B.C. It has a very full design and though the seal is a little worn, the design remains clear.' 42 grams, 31mm (1 1/4"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s; item number W-608; academically researched and catalogued by the late Professor Lambert in the early 1990s; accompanied by an original typed and signed scholarly note by Professor Wilfrid George Lambert. Fine condition.
Lot 231
3rd-2nd millennium BC. A fine collection of stone seals comprising: a Bactrian agate cylinder seal with standing bull and elephant; a Bactrian agate cylinder seal with bull and lion; a Bactrian lapis lazuli cylinder seal with birdman; a Bactrian lapis lazuli cylinder seal with ibex and lion; a Kassites Luristan lapis lazuli cylinder seal with standing and seated figures; one Ugarit period haematite cylinder seal with figures and animals; and a limestone cylinder seal with two birds and palm tree; four Bactrian massive haematite bifacial stamp seals with men and animals; accompanied by eleven museum-quality impressions. 14.9 grams total, 23-38mm (1 - 1 1/2"). Property of a central London gentleman; previously with Mahboubian Gallery of Ancient Art, New York; first part of the collection acquired in 1968 from Gallery Rosen Ancient Art, New York, USA, and the second part was acquired from Boisgirard and Associes, Arts d'Orient Archéologie, Paris, 5 April 2013, lot 6; accompanied by a copy of the purchase invoice for $8,200, dated 28 November 1968; and by the relevant Boisgirard and Associes, Arts d'Orient Archéologie catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10568-170876.[11] Fine condition. An impressive group.
Lot 289
3rd-2nd millennium BC. A substantial stone idol in three parts: a stylised serpentine body carved in relief with layers of leaves on all faces, a shallow oval-shaped recess at the top for placement of the head; a carved alabaster or marble head, bald, with detailing to the ears, eyebrows, eyes, nose and mouth, and a broad base for placement onto the body; a head-piece with a flared neck, decorated with eight 'petals' radiating from the centre-point of the domed top, and a series of horizontal ridges along the neck. See Aruz, J., Art of The First Cities: The Third Millennium B.C. from the Mediterranean to the Indus, The Metropolitan Museum of Art, 2003, pp. 367-368, for discussion and similar examples; cf. Hiebert, F. and Cambon, P. edn., Afghanistan: Crossroads of the Ancient World, The British Museum Press, 2011, pp.71-76, for discussion and comparable objects.2.7 kg total, 17cm (6 3/4"). Property of a Dutch private collector; previously the private collection of Dr P.A.F. van Veen, circa 1960; accompanied by a five page scientific report from Dr Boaz Paz of Laboratorien Für Archäometrie, Germany, and a scholarly note TL5336 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10360-167821.[3] [A video of this lot is available to view on TimeLine Auctions website.] Fine condition.
Lot 295
25th-22nd century BC. A carved hardstone vessel with bull's head, supplied with a signed scholarly note by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'Small vessel of hard black stone with relief around the outside: two cow() with sprouting water from a jar, and a large bull's head. Sumerian, c. 2500-2200 BC. Fine work, joined from two pieces, some surface corrosion. Vessels of this period are rare.' 174 grams, 93mm (3 3/4"). From a family collection formed before 1992; by descent before 1992, London and Geneva. Fine condition, repaired.
Lot 322
2nd-3rd century AD. An outstanding statue of Buddha, seated in a padm?sana or lotus position on a low throne, covered by a pillow and drapery, supported by two lions on each side, central relief representing an embroidery on the cloth decorated with two preaching bodhisattvas and their disciples, the first bodhisattva in the same position as Buddha and the other one with raised right hand in Abhaya mudra, a gesture of fearlessness; the statue reinforced on the back by a later added squared plinth; mounted on a custom-made display stand. See Ingholt, H., Gandharan Art in Pakistan, New York, 1957; Liu, X., Ancient India and Ancient China: Trade and Religious Exchange, AD 1–600, Oxford University Press, 1994; Taddei, M. ‘Afghanistan, Sculpture’ in Dictionary of Art, New York, 1996; Zwalf, W., A Catalogue of the Gandhara Sculpture in the British Museum, 2 vols., London: British Museum Press, 1996; Behrendt, K.A., The Art of Gandhara in the Metropolitan Museum of Art, New York, 2007; Brancaccio, P., The Buddhist Caves at Auraganbad: transformation in Art and Religion, Leiden-Boston, 2011.1.6 kg total, 22cm including stand (8 1/2"). Ex property of a London lady; formerly in the David Lindhal collection since 1969; 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.10408-169982. Gandharan control of the high mountain passes was vital to the international commerce of the sea routes cross the Arabian Sea, which supplied an expanding overland trade through Gandhara and continued on to Central Asia and China. This made the region wealthy and the resulting cosmopolitan elites of Gandhara became some of the most powerful Buddhist patrons in all of South Asia. Buddhism probably reached Gandhara as early as the 3rd century BC; sculptures representing Buddha began to be present from the 1st or 2nd century AD. The hairstyle of our bronze, the form of his robes, and the treatment of the drapes, reflect stylistic contacts with the classical traditions of the West. The sensitive modelling of the head and face has an expressive quality not seen in the more formal images in stone from this period. The depictions of the Buddha seated on a platform over which a plain cloth is draped. The way in which the drapery folds, suggest that this is a cloth of medium weight, but in our example, the Buddha is seated on a low, backless throne and the textile over the throne is thick and elaborately decorated. The decoration occurs in vertical panels, of which the centre panel is almost a square and shows the embroidery with the two bodhisattvas, the enlightened beings who have put off entering paradise in order to help others attain enlightenment. The figure of the central Buddha flanked by the bodhisattvas is well visible in the Gandhara art, and a similar example to our small sculpture is the beautiful image of the Aurangabad cave no.5, interior shrine, where the main Buddha in padm?sana is flanked by bodhisattvas. Very fine condition.
Lot 365
1st-2nd century AD. A relatively heavy bronze legionary helmet, consisting of embossed skull and wide neck-guard with flanged ear-guards, traced eyebrows to the front; the flat brow band with rivets a later addition; a copper rivet below the neck-guard for fastening an eyelet for the attachment of chin-guard straps, a rare feature; a battle sign derived from the blow of a stone or sling-shot bullet (glanda) is visible on the left upper rear part of the skull. See Robinson, R., The Armour of Imperial Rome, New York, 1975; D'Amato, R., Arms and Armour of the Imperial Roman Soldier, London, 2009; Travis, H. & Travis, J., Roman helmets, Stroud, 2014.1.1 kg total, 28cm (11"). Formerly in the private collection of Mr M. B., Mainz, Germany, since the 1990s; believed previously in the Axel Guttman collection; accompanied by an expertise by military archaeologist 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.10291-168755. Fine condition, restored. Rare.
Lot 403
8th-9th century AD. A large group of substantial silver horse harness fittings from the Khazar Empire, composed of ten round phalerae, presumably for the muzzle, nine rhomboid pieces for the reins, a buckle for the horse harness and a spherical pendant element for the antilina (anterior horse harness strap) or postilina (posterior horse harness strap"). See Artamonov, M.I., 'Sarkel i nekotoryje drugije ukreplenija v severo-zapadnoj Khazarii' in Sovetsknja Archeologija Vl, Moskva, 1940; Koestler, A., The Thirteenth Tribe, The Khazar Empire and its Heritage, Hutchinson, London, 1976; Pletnjeva, S.A., ‘Ot kochevij k gorodam (Saltovo-Majackaja kultura)’ in Materialy i lssledovanij a 142, Moskva-Leningrad, 1967; Pletnjeva, S.A., Die Chazaren, Leipzig, 1978; Pletnjeva, S.A. in Archeologija SSSR. Stepi Eurasii v epochu srednevekovj a, Moskva, 1981; Pletnjeva, S.A., ‘Risunki na stenach Majackogo gorodishcha’ in Majackoje gorodishche, Moskva, 1984; Pletnjeva, S.A., Na slaviano-kazarskom pogranichje. Dmitrij evskij archeologicheskij kompleks, Moskva, 1989; see similar artefacts in ????????, ?.?., ?????? ????????? ??????????, ?.: ????? ????????, 1999, pls.17-18.341 grams total, 16.5-90mm (3/4 - 3 1/2"). Property of a London businessman; acquired from L. W. in 2005; formerly in an old Israeli collection; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10389-169248. The Khazar Kaganate, a Jewish potentate formed in opposition to the Christian Roman Empire of Byzantium and the Muslim Arab Caliphate, stretched from the foothills of the Caucasus and the Lower Volga region to the Middle Dnieper in 8th-10th centuries. Their economy was characterised by a complex agricultural and cattle breeding system. The process of mass settling of nomads is reflected in the numerous settlements and burial grounds of the so-called Saltovo-Mayatsk culture, traces of which have been unearthed in the form of permanent unfortified settlements, fortified settlements with earthen ramparts, castles with remnants of stone walls, and fortress cities. Many Black Sea cities were revived under the rule of Khazaria, including Phanagoria and Tamatarhi-Tmutarakan. Particularly skilled in martial arts and weaponry, the Khazars created a powerful army whose military technology influenced Byzantium and the Islamic world in the sphere of war, trade and diplomatic relationships. [21] Fine condition.
Lot 421
3rd century BC-1st century AD. A carved conglomerate head, ellipsoid in profile with jutting brow, prominent reserved eyelids over lentoid eyes, trapezoidal nose, crescent mouth with reserved teeth; the rear unworked; mounted on a custom-made stand. See Ross, A., Pagan Celtic Britain, London, 1967, for an overview of the iconography of pre-Christian Britain and Ireland; Rynne, E., Figures from the Past, Studies on Figurative Art in Christian Ireland in Honour of Helen M. Roe, Dublin, 1987.4 kg total, 32cm (12 1/2"). Found next to the Ridgeway path at Bradbury, near Swindon, Wiltshire, UK, in 1955; accompanied by a scholarly note TL5323 by Dr Ronald Bonewitz. Professor Ian Armit has written several books and papers on the significance of the 'severed head' motif in Celtic (Iron Age) culture. In Death, decapitation and display, the Bronze and Iron Age human remains from the Sculptor's Cave, Covesea, north-east Scotland, Cambridge, 2011; and later in Headhunting and the Body in Iron Age Europe, Cambridge, 2012, Armit demonstrates that the human head was symbolically associated with power, fertility, gender, and other social themes in the context of Iron Age Europe. The range of evidence for beheading and the subsequent curation and display of severed heads includes classical literary references, vernacular iconography and the physical, skeletal remains of the victims of this custom. The notion of a 'head-cult' which extended across most of Continental Europe and the islands of the North Atlantic, including the British Isles, has been suggested, used to support the idea of a unified and monolithic 'Celtic culture' in prehistory. However, head-veneration was seemingly practised across a range of Bronze Age and Iron Age societies and is not necessarily linked directly to the practice of head-hunting (i.e. curation of physical human remains"). The relations between the wielders of political power, religious authority and physical violence were more nuanced than a simple reading of the literary and physical evidence would suggest. The stone heads of Ireland are an enduring expression of this strong association between the human body and the numinous powers of the intellect. Fine condition.
Lot 495
13th-15th century AD. A heavy gold ring with D-section hoop engraved with annulets between chevrons, the shoulders with feline-heads in high-relief, facing stirrup bezel set with a polished emerald at the apex. Cf. Portable Antiquities Scheme, WREX-848E6F, for another ring of this period with comparable shoulders.8.63 grams, 26.78mm overall, 19.63mm internal diameter (approximate size British T, USA 9 1/2, Europe 21.26, Japan 20) (1"). Property of an English collector; acquired from John Moor, York, UK, in the late 1990s; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.168685/07/12/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10454-168685. The animal heads presented here are Romanesque in style, although this would be too early for the generally accepted date range for stirrup rings. Precious stones had a wide variety of associations in this age; a typical example of a late medieval lapidarium is the one by Raymond Lull. The eighteenth chapter is devoted to the virtues and properties of the emerald: 'We saw that as long as we carried it, we healed many suffering falling sickness. By virtue of this stone we also stopped tempests. . . and we tried it on exhausted travellers who immediately recovered from the labours of the long travel.' He prescribed its use for King Robert of Sicily, when troubled by a fit of violent madness, since 'the stone of emerald mitigates the one who wears it, and eliminates impatience from the human body, and resists the Devil, so that he cannot harm by a noxious temptation...' [A video of this lot is available to view on TimeLine Auctions website.] Very fine condition. A large wearable size.
Lot 496
14th-15th century AD. A gold ring with slender D-section hoop engraved with scrollwork design and 'AMA' (love) 'DIO' (possibly Amadeus or God?) lettering in two sections around the hoop; scooped shoulders and calyx-shaped bezel set with stunning natural diamond. Cf. Victoria & Albert Museum, Gold ring set with a diamond Europe c1400 inscribed Ava Maria, London; Scarisbrick, D., Rings. Jewellery of Power, Love and Loyalty, London, 2013, pp.302-303, for a comparable love ring and diamond.2.09 grams, 29.10mm overall, 18.84mm internal diameter (approximate size British Q, USA 8, Europe 17.49, Japan 16) (1 1/4"). Property of an English collector; acquired from John Moor, York, UK, in the late 1990s; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.168684/07/12/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10442-168684. It was around 1400 AD that the point-cut for the diamond was developed using the natural pyramidal structure of the natural stone. Resistant to fire and the hammer, the diamond became the quintessential stone for use in betrothal rings, representing continuity and strength for the proposed relationship. King Edward III of England is believed to have given a comparable ring as a gift to a wealthy Flemish textile manufacturer, the godfather of the king's third son, John of Gaunt, Duke of Lancaster. [A video of this lot is available to view on TimeLine Auctions website.] Very fine condition. A large wearable size.
Lot 500
15th-16th century AD. A gold ring with round-section hoop and rectangular bezel, decorated with a frieze of interlace design; set with a cut and polished carnelian stone, held by four 'claws'. 2.78 grams, 19.90mm overall, 3.85mm internal diameter (approximate size British F, USA 2 3/4, Europe 3.67, Japan 3) (3/4"). Property of an English collector; acquired from John Moor, York, UK, in the late 1990s. Very fine condition.
Lot 540
Pre-Classical Period, 12th-2nd century BC. An amethyst figure modelled as a nude male contortionist or acrobat, supported by his forearms which rest on the ground, his body in a vertical position, knees bent, feet touching the head. See Instituto Geologico de M?xico, Catalogo Geográfico de las especies minerales de M?xico, Boletin 41, M?xico, 1923; Mirambell, L.E.,Tecnicas Lapidarias Prehispanica, M?xico, 1968; Ward, F., Jade Gem, Boock Publishers, EUA, 1996; Ridinger, M.L., ‘El Jade’ in Arqueologia Mexicana vol. V, No 27 Septiembre-Octubre, pp. 52-59, M?xico, 1997; Mirambell, L.E., Materiales Arqueologicos y material prima’, in Serie Arqueologia INAH, M?xico, 2005; Langenscheidt, A., ‘Los Abrasivos en Mesoam?rica’, Arqueologia Mexicana vol. XIV, No 80 Julio-Agosto, M?xico, 2006, pp.55-60.752 grams, 14cm (5 1/2"). Property of an Italian collector living in Torino; part of her family's collection since 1965; by descent from her grandmother in 1993; accompanied by a copy of the Italian export permit and a signed academic report by Emilio J. Bejarano Erosa (Director of the Instituto Nacional de Antropología e Historia, Mexico, 1968-1982); also accompanied by a scholarly note TL5345 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10284-168432. The figurine is a representation of a contortionist or an acrobat, with typically Olmec features. Although these figures are not abundant in Olmec culture, there are parallels to be found in Olmec stone sculptures. Very fine condition.
Lot 548
1470-1532 AD. A ritual offering conopa vessel formed as an alpaca; hand-carved from a fine-grained black stone and polished with sand and water, with a hole in its back called a 'qocha' (lagoon"). 304 grams, 10.7cm (4 1/4"). Property of a Brussels gallery since 2006; previously with Arcadia, Amiens, France. This container was created for use in the 'haywarisqa' (ceremony of offerings) in which alpaca fat and blood mixed with coca leaves were presented to the gods. Fine condition.
Lot 551
9th-2nd century BC. A carved light brown stone cylindrical vessel with interlocking mythical zoomorphic and anthropomorphic geometric design. 147 grams, 66mm (2 1/2"). From a European collection, 1970s-1980s; previously in the collection of R. Ferrero, Switzerland, acquired prior to 1965; formerly in a private French collection, formed in the 1950s. Very fine condition.
Lot 105
4th-6th century AD. A pair of wooden scribe's tools comprising: a rectangular scribal palette with five ink holes and two rectangular pen slots, three pairs of piercings to the long edge with transverse cuts, a set of cuts to the edge on the opposite side; a rectangular writing tablet with recess to both sides for containing the wax, three pairs of piercings to the long edge with matching transverse cuts. See Metropolitan Museum of Art, accession number 14.2.4a–d, for a similar wax tablet; see also William Smith, D.C.L., A dictionary of Greek and Roman Antiquities, London, 1875; Rutschowscaya, M.H., Benazeth, D., L’Art Copte en Egypte, 2000 ans de christianisme, Paris, 2000.155 grams total, 19-19.4cm (7 1/2"). Property of a London gentleman; acquired on the UK art market; accompanied by an archaeological report by military specialist 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. 10548-170357. The recessed areas of the tablet would have been filled with wax and employed for writing with a stylus or a wooden pen, this wax could be re-used multiple times. The word tabula means planks or boards, whence it could be applied to several objects, but more especially to tablets used for writing. In general the word tabula was applied to any flat substance used for writing upon, whether stone or metal or wood covered with wax. [2] Fine condition. Extremely rare.
Lot 113
1st-2nd century AD. A gold ring with D-section hoop with expanding shoulders, raised bezel with convex underside set with green stone, intaglio image of a bee with striated body and detailing to the wings. 3.98 grams, 25.75mm overall, 18.57mm internal diameter (approximate size British P 1/2, USA 7 3/4, Europe 16.86, Japan 16) (1"). Property of a West Essex gentleman; formerly in a 1980s private collection. The bee represents Ephesus and the Sanctuary of Artemis in Ephesus, as bees were a common symbol for the goddess. Very fine condition. A large wearable size.
Lot 122
1st century AD. A gold finger ring with twisted wire hoop supporting an oval-shaped bezel with a border of granulated beads, set with a cut and polished carnelian(?) gemstone with intaglio Mercury standing left, caduceus in right arm, coin purse (marsupium) in left. See Chadour, A.B., Rings. The Alice and Louis Koch Collection, Leeds, 1994, item 208, for type; cf. The British Museum, museum number 1923,0401.167, for a similar Hermes/Mercury stone; cf. Roberts, P., Life and Death in Pompeii and Herculaneum, London, 2013, p. 268, for an almost identical depiction of Mercury on a Roman gemstone.2.17 grams, 19.98mm overall, 18.33mm internal diameter (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10) (3/4"). Ex Mr L.W. in 2005; formerly in an old private Israeli collection, since the 1990s. Very fine condition.
Lot 694
A wonderful selection of around 27 7" singles by Bob Dylan or The Byrds, including a couple of EPs. BD titles include Mixed Up Confusion (2476, Dutch pressing, record VG+, picture sleeve VG), Leopard Skin Pill Box Hat (2700, VG+, picture sleeve VG), Highway 61 Revistsed, Rainy Day Woman Nos 1 2, I Want You, Subterranean Homesick Blues, Queen Jane Approximately, Like A Rolling Stone. The Byrds titles include Eight Miles High (EP 6077, VG+/ VG), The Times They Are A Changin (EP 6069, VG+/ VG+), Lady Friend, My Back Pages, Goin Back, I Am A Pilgrim, You Ain't Going Nowhere. Condition is generally VG to Ex.
Lot 782
Here we have a superb collection of around 500 mixed-genre cassette tapes. Artists include Bruce Springsteen, The Velvet Underground, Talking Heads, Lee Scratch Perry, John Fahey, U2, The Stranglers, Happy Mondays, Morrissey, The Beatles, Billy Bragg, Pulp, Neil Young, Sly & Robbie, The La's, The Jesus and Mary Chain, The Cult, Oasis, Pink Floyd, Led Zeppelin, Tom Petty, Kraftwerk, Queen, Sade, The Kinks, Bob Marley, Patti Smith Group, All Saints, The Smiths, Foo Fighters, Bob Dylan, Michael Jackson, Trainspotting, Jimi Hendrix, Prince, Primal Scream, Sly and the Family Stone, Cast, Linkin Park, Moby, Air. Cassettes appear to be in excellent condition.
Lot 802
A superb collection of around 500 CDs. Lot includes around 200 CDs that we're given away free with magazines etc. Artists included in the other 300ish include Air, Roxy Music, Dennis Wilson, Manic Street Preachers, Hawkwind, Oasis, The Byrds, Led Zeppelin, Spiritualized, Joni Mitchell, Van der Graaf Generator, Bob Marley, Blur, Arthur Brown, Peter Hammill, Orb, Neil Young, Queen, David Bowie, Queens Of The Stone Age, Tori Amos, Nirvana, Radiohead, REM, Grateful Dead, Pink Floyd, Rolling Stones, The Verve, The Who, The Beach Boys, Robert Plant, Spirit, Iggy & The Stooges, Santana, The Beta Band, Eagles, Little Feat. CDs appear to be in excellent condition.
Lot 803
A smashing collection of around 350 mixed-genre CD albums and singles. Artists include Grateful Dead, Orb, Pink Floyd, Blind Faith, Led Zeppelin, Dire Straits, America, The Big Squeeze, Steve Harley & Cockney Rebel, Tears For Fears, Cypress Hill, Warren Zevon, Eurythmics, Frank Zappa, Motorhead, Dave Mason, Semisonic, Smashing Pumpkins. Brian Wilson, The Doors, The Vines, Joni Mitchell, David Gilmour, Jefferson Airplane, Love, Paul Weller, Foo Fighters, The Stone Roses, Nirvana, The Jam, Tim Buckley, Bob Dylan, Santana, Fleetwood Mac, Steely Dan, Suede, Oasis, Elastica, REM, Blur, Pulp, The Verve. CDs appear to be in Excellent condition.
Lot 838
A wonderful collection of around 32 soul & reggae records. Mostly LPs but does include a smattering of 12" singles. Artists/ titles include Toots & The Maytals - Reggae Got Soul (ILPS 9374), Bob Marley & The Wailers - Exodus (ILPS 9498), Marvin Gaye - Greatest Hits, Grace Jones - Living My Life, Stevie Wonder inc Songs In The Key Of Life, Talking Book. Sly & The Family Stone - There's a Riot Going On. Sunne Ade inc Synchro System, Juju Music. Michael Jackson - Dangerous (4658021), Sadeinc Promise. Ziggy Marley, Sam & Dave, Al Jarreau, Thomas Dolby, Kid Creole, Bessie Smith. Condition is generally VG+ to Ex+, some may have some inner sleeve transfer sheen.
Lot 852
A super collection of around 52 7" singles. Artists/ titles include Adam Ant inc Good Two Shoes, Kings Of The Wild Frontier. Blondie inc I'm On E, Rapture, Will Anything Happen, Dreaming. Giorgio Moroder inc Call Me. Buzzcocks inc What Do I Get? (UP36348), You Say You Don't Love Me, Harmony In My Head. Ian Dury inc Hit Me With Your Rhythm Stick, Sex & Drugs & Rock & Roll. Rods, The Jam inc Going Underground, When You're Young, The Eton Rifles, Funeral Pyre, Live EP (SNAPL45), Malcolm McLaren, Madness inc Embarrassment. The Members, OMD, Pretenders, Public Image, Sex Pistols inc The Great Rock n Roll Swindle. Stepping Stone. Sham 69, The Stranglers, Talking Heads, The Tourists, U2, The Undertones. Condition is generally VG+ to Ex+, some may vary.
Lot 874
Excellent titles with this collection of 42 x LPs. Artists/titles include Eddie Boys - 7936 South Rhodes (mono Blue Horizon original 7-63202 - VG+ record/VG+ a few light laminate creases), Bill Plummer And The Cosmic Brotherhood - S/T (US Impulse stereo original AS-9164 - VG+ record/VG), Medicine Head - Heavy On The Drum (UK Dandelion og DAN 8005 - Ex/VG+), Traffic - John Barleycorn Must Die (ILPS 9116 pink label white 'i' og - VG/VG+), Stone The Crows - Teenage Licks, Grease Band (SHVL 790), Captain Beefheart - Clear Spot (K 54007) and The Spotlight Kid, Jack Bruce (583 058), New Riders Of The Purple Sage, Nektar - Sounds Like This (UAD 60041/42) and Thru The Ears, Matthews Southern Comfort, The Flock, Hot Tuna, Iron Butterfly, The Baker Gurvitz Army, Mountain, Graham Parker, Tim Hardin and Delaney & Bonnie & Friends. Condition is generally VG to Ex.
Lot 1067
A smashing collection of around 42, mostly LPs but does include a handful of 12" singles. Artist/ titles include Cornershop inc Handcream For A Generation (WIJLP 1115), Woman's Gotta Have It, Siouxsie & the Banshees - Join Hands, Catatonia - Equally Cursed and Blessed (No: 1413), Gigolo Aunts - Flippin' Out, Northern Uproar - S/T (includes postcards), New Order (x2), Stone Roses, Sugar Cubes, Inspiral Carpets, Depeche Mode, Ian McCulloch, Teenage Fanclub, Hoodoo Gurus, Blow Your Cool, Green On Red - Gas Food Lodging, Laibach, Various - Dial M For Merthyr, Pigeonhole, The Cuban Heels, Tackhead. Condition is generally VG to Ex+.
Lot 1113
PUNK/INDIE/NEW WAVE/COOL POP - 7". Super cool collection of around 160 x 7". Artists/titles include The B-52's - Rock Lobster (ltd edition shaped disc, BFTR-1), The Smiths - Last Night... and William, It Was Really Nothing, Stone Roses - One Love (with postcard), Aztec Camera, The Cure (x5) - Close To Me (stock) and Remix (paper labels), The Love Cats, Never Enough and The Walk, The Cult, Squeeze inc. Up The Junction (purple) and Cool For Cats (pink), Spandau Ballet, Sparks, The Specials/Special AKA, Spear Of Destiny, Soft Cell, Everything But The Girl, Ray Davies, The Damned, Style Council, The Knack, Jona Lewie, The Korkis, Ian Dury, Dave Edmunds, OMD, Gary Numan, The Pogues, The Piranhas, PiL, David Bowie, Boomtown Rats, Blondie, Joe Strummer, Stiff Little Fingers, The Stranglers and The Soup Dragons. Condition is generally VG to Ex+.
Lot 1122
LARGE CD COLLECTION (PLUS CASSETTES). Another fantastic large collection featuring around 800 x CDs (largely albums though this collection does include some singles) plus a box of around 84 cassettes. Artists will include Prince, Primal Scream, Sex Pistols, Rainbow, Queen, Robert Palmer, New Model Army, Paul Weller, Van Morrison, Paul Young, Frank Sinatra, Charlie Parker, Louis Armstrong, Neil Diamond, Les Brown, Sam Cooke, Brena Lee, Bobby Vinton, Elvis, The Platters, Simon & Garfunkel, Stereophonics, U2, Stone Roses, Marvin Gaye and Nina Simone.
Lot 1139
A super collection of around 45 7" singles. Artists/ titles include Sex Pistols inc Something Else, The Great Rock n Roll Swindle. The Clash - London Calling, UK Decay - Unexpected Guest (FRESH 26), Dead Kennedys inc Holiday In Cambodia, California Uber Alles, Kill The Pooh, Bleed For Me. The Southern Death Cult, The Vapors, Sham 69 inc Hersham Boys, If The Kids Are United. PIL - This Is Not. Ruts, Sandie Shaw, The Lilac Time, The Specials, Allen Chaney, Gary Numan, The Smiths inc Panic, Siouxsie & The banshees, Ramones, Adam And The Ants, Gasp, The Stone Roses inc One Love. The Jam, Bauhaus inc Terror Couple, Dark Entries, Kick In The Eye. The Lurkers, The Bodysnatchers. Condition is generally VG to Ex, some may vary.
Lot 1191
A smashing collection of around 350 LPs, includes many popular 50s/ 60s favourites. Artists include Al Caiola, Trini Lopez, Paul Evans, Billy Strange, Santo & Johnny, The Anita Kerr Quartet, The Kirby Stone Four, The Highwaymen, The Ray Charles Singers, The Brothers Four, Danny Williams, Lonnie Donegan, Jackie DeShannon, DanaThe Hunters, Maria Elena, Roger Miller, Teresa Brewer, Buddy Merrill, Bill Justis, Jack Marshall, The Jumping Jewels, Tommy Garrett, Frankie laine, Chet Atkins, OC Smith, Jackie Trent and Tony Hatch, Andy Stewart, Harry Belafonte, Georgia Brown, Pearl Bailey, Billy Mure. Condition is generally VG to Ex+.
Lot 1241
INDIE/ HIP HOP/ OST - DAT CASSETTE PROMOS. A smashing collection of 5 DAT cassette promos. Artist/ titles include The Farm - Stepping Stone (FUJI R60 tape, Hand written cue cards and labels on cassette), Ice T (x2) inc That's How I'm Livin (dated 02/11/93, Cat: On The Rox Edit 7", printed inlay and stickers on cassette, Client: Virgin) & Gotta Lotta Love (dated 20/05/93, printed inlay and stickers on cassette, Cat: Radio Edit, Client: Virgin), Joey Negro - What A Life (Dated 25-1-94, Cat: 7" Version 3.45, Client: Virgin. Printed inlay and stickers on cassette) & Batman (Client: Phonogram Records, Date: 3/7/89, Cat: BATSP 1 A, Printed inlay and stickers on cassette). All cassettes look to be in excellent condition.
Lot 137
Two late 20th century German hardstone birds of preyprobably designed by Manfred Wild or Andreas Zadora von Gerlof and carved in Idar-Oberstein,comprising: a Zebra-stone model of a falcon, lacking base and a white agate model of a falcon on turned wooden base, the agate model requiring attention to mount on its base, 36cm high and 30.5cm high not including base (2)For further information on this lot please visit Bonhams.com
Lot 143
A pair of very large mahogany library bergeresin the Regency style, after Charles Heathcote Tatham and Thomas HopeEach with an outscrolled and dished leaf-carved back above standing griffin-form end supports, with outstretched feather carved wings, terminating in animalistic legs and lion paw feet, 109cm wide x 120cm deep x 119cm high, (42 1/2in wide x 47in deep x 46 1/2in high) (2)Footnotes:Although of recent manufacture, the offered bergeres are after a Regency oak model reputedly supplied to John Aylmer, Courtown House, County Kildare in Ireland, circa 1815, which sold Christie's, London, 7 June 2011, 500 Years Decorative Arts Europe, lot 479. This in turn was most likely inspired by drawings and designs produced by Charles Heathcote Tatham (1772-1842) and Thomas Hope (1769-1831). Three such influential drawings of ancient consular seats, or throne chairs, executed by C.H. Tatham while on the Grand Tour and dating to 1795 and 1799 respectively, are illustrated in Thomas Hope, Regency Designer, ed. by D. Watkin and P. Hewat-Jaboor, 2008, New York, pp.'s 58 & 377, fig.'s 4-1 & 67-1. For further comparison see the Coade stone seat, circa 1800, originally in the picture gallery at Thomas Hope's Duchess Street property, but now at Parham House in Sussex, Ibid, p. 70, fig. 4-16. Whilst a carved mahogany sofa end dating to circa 1802, which is believed to have belonged to Thomas Hope, also appears Ibid p. 377, fig. 67. This itself is virtually identical to the sofa ends which feature in a design for the third vase room from Thomas Hope's major 1807 publication, Household Furniture, Ibid, p. 33, fig. 2-14.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 183
Of Royal interest: A William IV gilt bronze and agate, turquoise matrix and red stone 'gem' set ink stand with provenance to Queen Adelaide, wife of King William IVof rectangular form with wavy lotus border and twin inset oval agate panels within foliate scrolling engraved borders, the edges with closed back claw set cobochon stones, raised on a moulded and elaborate acanthus and floral scrolling footed stand, the centre mounted with a seated putto taperstick with shaped drip pan and conical flambe finial, flanked by twin lotus vase inkwells, the hinged lids with flambe finials on stiff leaf scrolling feet, with inset ceramic receivers, together with a lawn and netted lace trimmed pocket handkerchief, embroidered to one corner with a crowned basket of flowers and 'Adelaide,' a circular blue velvet and gilt couched metal embroidered pen wipe the centre with an applied gilt metal filagree rosette, and a collection of accompanying later contemporary correspondence and paperwork, the inkstand, 9cm high x 24cm wide x 17.5cm deepFootnotes:Please see the printed catalogue for the footnote to this lotFor further information on this lot please visit Bonhams.com
Lot 41
Ronald Cobb (British, 1907-1977): An original costume design for a Murray's Cabaret Club showgirl in a yellow and black dress,1950's,the hand-painted pencil, watercolour and gouache costume design featuring a showgirl in a low-cut yellow and black work-style dress, with sheer yellow skirt, black gloves, black glasses, black handbag and matching boater hat, unsigned, mounted, framed and glazed, sight 6 1/4in x 13 1/4in (16cm x 35cm)Footnotes:Here Cobb has blended a glamorous work-wear style with a sense of erotica through the sheer fabric combinations.Exhibitions:The Museum of Soho, London, 22nd March - 7th April 2018. Green & Stone of Chelsea, London, 4th-16th July 2019.For more information: www.murraysclubarchive.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 43
Ronald Cobb (British, 1907-1977): A signed original costume design of a Murray's Cabaret Club showgirl in a yellow and black dress,1952,the hand-painted pencil, watercolour and gouache costume design featuring a showgirl in a yellow and black spotty blouse, two-tiered sheer skirt, matching yellow gloves and black choker, signed and dated by the artist to the bottom right corner, mounted, framed and glazed, sight 7 1/2in x 16in (19cm x 42cm)Footnotes:Exhibitions:The Museum of Soho, London, 22nd March - 7th April 2018. Green & Stone of Chelsea, London, 4th-16th July 2019.For more information: www.murraysclubarchive.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 44
Ronald Cobb (British, 1907-1977): An original costume design for a Murray's Cabaret Club showgirl in a milkmaid costume,1950's,the hand-painted pencil, watercolour and gouache costume design on card featuring a showgirl in a low-cut, pink, blue and white milkmaid's outfit with matching hat, annotated in pencil Bo Peep No. by the artist, also part signed by the artist to the bottom right corner, mounted, framed and glazed, sight 7 3/4in x 16in (19.5cm x 40.5cm)Footnotes:As well as the extravagant designs, Cobb also had the ability to turn relatively mundane uniforms or costumes into more sensual ensembles, as shown here with this milkmaid costume.Exhibitions:The Museum of Soho, London, 22nd March - 7th April 2018. Green & Stone of Chelsea, London, 4th-16th July 2019.Literature:Levy, Benjamin, 'Murray's Cabaret Club: Discovering Soho's Secret', (The History Press), 2019.For more information: www.murraysclubarchive.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 45
Ronald Cobb (British, 1907-1977): An original costume design of a Murray's Cabaret Club showgirl in a white dress with red cape,1950's,the hand-painted pencil, watercolour and gouache costume design featuring a showgirl in a full-length fitted white dress, white high-collared bolero cape, long red cape and black headpiece, unsigned, mounted, framed and glazed, sight 8in x 13 3/4in (20.5cm x 35cm)Footnotes:During the 1950's the enthusiasm for the sci-fi genre grew with Hollywood hits galore. As such, Cobb drew on this campy space-age aesthetic, as seen in this 'galactic queen' ensemble. Due to his imaginative designs, Cobb was later asked to design the costumes for The Avengers play at the Prince of Wales Theatre in 1971.Exhibitions:The Museum of Soho, London, 22nd March - 7th April 2018. Green & Stone of Chelsea, London, 4th-16th July 2019.Literature:Levy, Benjamin, 'Murray's Cabaret Club: Discovering Soho's Secret', (The History Press), 2019.For more information: www.murraysclubarchive.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 688
NOT SUITABLE FOR EXPORTThe flattened body carved with a bird perched on a blossoming prunus branch, the reverse with a Lingzhi growing from a rock, the ivory-white stone with good play of colour, white opal stopper, ivory spoon5,8cm high including stopperPROVENANCE Acquired Edinburgh 1972, thence by descent
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