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Lot 1046
2 silver and white metal modern design necklaces. A marquise cut clear stone with silver wrap detail on a silver fine curb chain. Full hallmarks to pendant and 925 marks to chain fixings. Together with a oblong drop pendant set with 3 pale blue stones on a silver fine belcher chain. Curb chain approx. 18", belcher chain approx. 20".
Lot 290
A pair of two stone trilliant cut diamond earstuds, in unmarked white metal, the four brilliant cuts with Anchor certificates as follows:Certificate 117001-003 - Trilliant 0.67ct SI1, FCertificate 117001-005 - Trilliant 0.53ct SI1, HCertificate 117001-008 - Trilliant 0.58ct SI1, ICertificate 117001-010 - Trilliant 0.64ct VS2, F1.5cm long, 4.4g gross
Lot 3
Star Wars 16x12 multi signed colour photo signed by 13 stars from the epic saga includes Trevor Butterfield, Michael Henbury, John Coppinger, Paul Bazely, Eileen Roberts, Daniela Tlumacova, Mitos Yerolemou, Chris Bunn, David Stone, Robert Nairne, Kamay Lau, John Altman and Tim Dry. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Lot 351
Ambrosius Bosschaert the Younger (Middelburg 1609-1645 Utrecht)Tulips, roses, lily of the valley and other flowers in a glass vase on a stone ledge oil on copper35.6 x 23.3cm (14 x 9 3/16in).Footnotes:ProvenanceWith Kunsthandel P. de Boer, Amsterdam, 1950 Dr. Fred Meijer discusses the present work in a report from 9 August 2019 in which he dates it to 1633 or 1634. In his 1960 book, The Bosschaert Dynasty Laurens Bol illustrated a somewhat similar composition dated 1632, formerly in The Hague Gemeentemuseum. Another example from 1632 also includes two bluebottles on the ledge, but both these arrangements are somewhat compact and sit tighter in the picture plane than the present composition. In the following year, 1633, Bosschaert seems to have allowed more space around his bouquets and made them less compact, as dated examples from that year indicate. An example dated 1635 is composed similarly and includes the same two flies on the table. The comparisons suggest that the present work was executed in 1633 or 1634. An undated still life of flowers and fruit, which will also have originated in or around 1633, judging from stylistic features, includes several flowers that are also included in the present bouquet. An interesting feature of all of these examples is the shadow of the vase, which has a focused spot of light in the centre.Laurens Bol remarked that Ambrosius Bosschaert the Younger might be nicknamed 'The Master of the Bluebottle', since the great majority of his still lifes show a bluebottle in a characteristic pose: tilted forward, licking the surface on which it sits, just like the one on the left on the ledge in the present painting. Still lifes of flowers in a glass vase on a ledge or table top made up Ambrosius Bosschaert the Younger's 'core business.' Their inspiration goes back to examples by his father and by Jan Brueghel the Younger in the first decade of the century. While the presence of the bluebottles may have had vanitas connotations (hinting at decay) and the caterpillar (which becomes a butterfly) may have evoked association with the Resurrection, it is probably inappropriate to read too much profound meaning into a bouquet such as this. Essentially such a work of art allowed the viewer to enjoy fresh flowers all year round, as a feast for the eyes.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1
‡ Stamp seal with two horned quadrupeds, possibly antelope, each held by a large hand, carved in simple lines, floral zigzag motifs on reverse, on olive-green steatite or chlorite rectangular block [Near East, fifth or fourth millennium BC.] Semi-precious stone, carved in deep relief, with two pierced holes at head (for suspension), some small scuffs, else in excellent condition, 74 by 48 by 15mm. Provenance: 1. From the formidable antiquities collection of Hans Erlenmeyer (1900-1967), and his wife Marie-Louise Erlenmeyer (1912-1997), housed in Basel; this piece acquired in the 1950s. In 1981 Marie-Louise Erlenmeyer founded the Erlenmeyer Foundation to promote animal and species protection.2. Sold on behalf of the foundation at Sotheby's, 12 June 1997, lot 10 (illustrated there); to the current owner;3. Schøyen Collection, London and Oslo, their MS 2411/3. Text:Before the invention of cuneiform, the civilisations of Mesopotamia used pictograms: signs representing goods, animals, places, jobs, numbers and administrative processes, rather than an actual alphabet. The depiction of the shapes of many of these 'proto-cuneiform' signs, necessarily stylised through the use of a wedge-shaped reed impressed into clay, subsequently evolved into cuneiform proper. As such they are perhaps the earliest dawn of palaeography, and the beginning of our survey here. Such rectangular or square stamp seals were the forerunner of cylinder seals, and were most probably used to mark ownership of goods through the impressing of their symbols onto clay containers.
Lot 2
‡ Stamp seal, with single large male Ibex with long curving horns, walking left, small half-moon marks denoting ground, and ridge worn into reverse, carved on black steatite or chlorite[Near East, fourth millennium BC.] Semi-precious stone, carved in deep relief and good detail, pierced through centre, some small scratches, current collection number in white on reverse, else in excellent condition, 47 by 51 by 13mm. Provenance: 1. From the formidable antiquities collection of Hans Erlenmeyer (1900-1967), and his wife Marie-Louise Erlenmeyer (1912-1997), housed in Basel; this piece acquired in the 1950s. In 1981 Marie-Louise Erlenmeyer founded the Erlenmeyer Foundation to promote animal and species protection.2. Sold on behalf of the foundation at Sotheby's, 12 June 1997, lot 8 (illustrated there); to the current owner;3. Schøyen Collection, London and Oslo, their MS 2409/1. Text:A fine pictographic stamp seal, most probably with an owner's personal emblem. See also previous lot.
Lot 38
Ɵ Two leaves with Isidore of Seville, Etymologiarum sive originum, book 20, with readings on wine, and Pubilius Syrus, Sententiae, in Latin, decorated manuscript on parchment[Northern France (most probably Cercamp, Amiens), third quarter of the twelfth century] Bifolium, each leaf with double column of 44 lines of a small and precise proto-gothic bookhand, written above topline and without biting curves, faded red rubrics, one-line initials of capitula for next book on second leaf in alternate pale green and red, large pale and green initials with foliate penwork decoration, reused on a binding in late medieval period and with folds across middle of leaves, corners of blank margins clipped away and slight damage through heat exposure to upper outer corner of first leaf, else good condition, each leaf 395 by 285mm.; in cloth-covered card binding Provenance: 1. Most probably written for use in the Cistercian Abbey of Cercamp, diocese of Amiens, founded 1141 with monks from Pontigny, ransacked in 1415 during Agincourt, but re-established before being forcibly converted to stables and a military hospital in the 1630s during the Thirty Years' War, then seized for military use again in 1710 by the troops of Field Marshal d'Harcourt. At the Secularisation there was little left to suppress. By the nineteenth century the buildings were in use as a wool factory, and later became the residence of the Barons de Fourment. This bifolium certainly reused there at the end of the Middle Ages, and with a sixteenth or early seventeenth-century ex libris of the house, upside down at the foot of the rectos of both leaves: "Abbey de Cercamp", most probably from reuse there around a set of accounts. No other manuscript or fragment of one from this medieval library can be traced by us.2. André Simon (1877-1970), wine merchant, gourmet and one of the most important twentieth-century authors on wine, who voraciously collected books on the same subject. 3. Sotheby's 6 December 1993, lot 5. 4. Schøyen Collection, London and Oslo, their MS 1777, acquired in Sotheby's. Text and script:This bifolium is from an elegant monastic copy of the most important encyclopedia produced by the Middle Ages. Isidore of Seville (c. 560-636) was part of the intellectual renaissance in the seventh-century Visigothic court, and was notably close to King Sigebut (c. 565-620/1), to whom the first version of this work was dedicated. It has been suggested that he composed it as a form of summa for his recently-civilised barbarian masters, but it quickly found other more conventional readers in mainland Europe and became the most widely consulted scientific reference work of the Middle Ages. It survives today in nearly a thousand manuscripts (Barney et al., Etymologies of Isidore of Seville, 2006, p.24), and by the year 800 copies of it could be found in almost all the cultural centres of Europe. The leaves here contain discussions of food, oils and greases, beverages (prominently including wine) and vessels for food. The second leaf contains the entries from 'M' to 'T' of the Sententiae of Pubilius Syrus (fl. 85-43 BC.), a Syrian slave freed by his Roman master due to his talent as an author and playwright. All that now remains of his work is this text: a series of moral maxims in iambic and trochaic verse arranged in alphabetical order. He was admired greatly by Seneca the Younger, quoted by Shakespeare (Much Ado About Nothing, sc. 1: "if she did not hate him deadly, she would love him dearly"), and his work is the origin of the expression "a rolling stone gathers no moss".
Lot 6
‡ Homer, Iliad XI:1-5 (with Zeus sending Strife to the Achaean fleet, bearing a war-banner in her hands, at the break of dawn), in Greek, epic verse in dactylic hexameters, manuscript on papyrus [Egypt, second century AD.] One rectangular papyrus fragment, with remains of a single column of six lines in an excellent Greek half uncial script, here written as prose but with diagonal dividing lines marking the ends of lines of verse or noting punctuation (as no other examples of such lines are known their intended function remains speculation: see literature cited below), single line in unidentified Greek cursive hand on reverse, 51 by 45mm.; set in glass, and within a folding cloth-covered case An important early witness to one of the fundamental works of Western literature, with this fragment being the first recorded witness to this part of the text, and the only example on papyrus Provenance: 1. Erik von Scherling, Leiden (1907-1956), son of the Swedish consul in Rotterdam, who worked for the bookseller Jacob Ginsberg in Leiden, learning Latin and Arabic while there, and then opened up a dealership there issuing regular bulletins and a sale-catalogue/gossipy journal named Rotulus from the 1930s until the 1950s; almost certainly acquired from his "Egyptian correspondent" in the early 1930s or directly by him in Egypt during his manuscript collecting trip to Cairo in 1934-35.2. Maggs Bros., London (1964-1988), and among the clutter of material left by von Scherling on his sudden and untimely death in 1956, a small part of these offered for sale to various institutions and the remainder divided between Maggs and Laurence Witten of New Haven, CT, USA. 3. Sam Fogg, London, acquired from Maggs.4. Schøyen collection, London and Oslo, their MS 112/80, acquired June 1988. Text and script: A fragment of the single-most influential literary text in the Western world, in a copy contemporary with Suetonius, Martial and Pliny the Younger. Homer's account of the siege and fall of Troy is the foundation stone of European culture. The text is usually dated to c.850 BC., and consensus agrees that it was composed some decades before the Odyssey. It was extremely popular in antiquity, and remained so throughout the Greek speaking world in the early Middle Ages. This is most probably the work of an inexperienced scribe practising their copying in a scribal school, but is still of great importance as it is the earliest recorded witness to this section of the Iliad. As this fragment includes the first example of any form of uncials in this catalogue, a few words must be said here about this crucially important script. Around the second or third century AD. rustic capitals had evolved into large stately rounded capitals that St. Jerome named 'uncials'. Among modern readers the script is most well-known for the baffling effect it produces in having no breaks between words. It had raw austere beauty, and signalled authority, and quickly became the script of fundamental texts, especially the Bible (see also examples of Coptic Uncial and Armenian Uncial used to copy the Bible, below in lots 11 and 16). Published: G. Ucciardello in R. Pintaudi, Papyri Graecae Schøyen, 2005, no. 2, pp. 5-6.
Lot 8
‡ Votive text appealing to Victoria Augusta, perhaps in the name of a Roman auxiliary stationed in England and named Aufilius or Aufidius, in Latin, in Roman Capitals punched with dots into thin gold plate[probably England (perhaps Roman fort of Lanchester/Longovicium, near Durham in northern England), third century AD. (perhaps c. 270)] Thin gold plate, cut to ansate form (ie. shape of a square with a rhomboidal wing on each upright side, a shape designed for suspension), with the text "VICTORI/AE AVG/ AVF FIDI/ VS [for 'filius'].../ D D." punched into its surface in Roman Capitals using a series of dots, other dots added to 'wings' for decorative affect, three holes pierced along upper edge most probably for suspension, some traces of dents and slight damage to extremities, else excellent condition, 37 by 56mm.; in custom made glass case, within fitted blue-cloth covered case A Romano-British inscription on the rarest and most alluring of writing materials to survive from the Ancient world: gold Provenance: 1. Probably created for a high-ranking Roman auxiliary perhaps named Aufilius or Aufidius (appeals to Victoria Augusta are most commonly found on items made for the Roman military or from military sites), who appears to have been stationed in Lanchester, near Durham (see below). Such inscriptions are highly formulaic, and so we can be certain that the opening line contains a dedication to Victoria Augusta, and the last line contains the standard formula "D[ono] D[edit]" ('gave this as a gift'). Following this the first part of the central two lines might convincingly be read as "AUF[ilius/idius] FILI/US ..." (with the 'L' in the second word mistruck as an apparent 'D') and the remaining word identifying his father too abbreviated or garbled to be extrapolated here.2. Reportedly found as a stray find in vicinity of Lanchester, near Durham, in the 1940s. Lanchester (Roman Longovicium) was the site of a substantial Roman auxiliary fort on Dere Street (the Roman road connecting York to Hadrian's Wall) in the province of Britannia Inferior. The site is mentioned in both the Ravenna Cosmography and the Notitia Dignitatum. An unusually large number of altars, dedication slabs and a milestone set on the adjacent sections of Dere Street allow us to conclude that the fort was built by the Twentieth Legion, probably around 150 AD. It seems to have been the subject of rebuilding in the middle of the third century and the fourth century. At the time this object was made, stone inscriptions identify the fort as manned by Celts from the Plateau de Langres in the Bourgogne region of Gaul, near Dijon, the Cohors Primae Lingonum (First Cohort of Lingones) and the Cohors Primae Lingonum Gordiana equitata (First Cohort of Lingones, Gordian's own, part mounted), as well as a detachment of Suebians from Lusitania.3. Lennox Gallery, London, in 1996, and sold then to the present owner.4. Schøyen Collection, London and Oslo, their MS 2344. Text: While far from common, Roman metalwork objects with punched dot inscriptions are known from diverse objects, including a bronze dog or slave collar, with the inscription "Tene me ne fugio" ('Hold me, lest I flee), offered in Bonhams, 30 September 2014, lot 383, as well as small votive offerings such as the present piece. Close parallels for this item can be found in the holdings of the Ashmolean and York Museum (H4.1-2, from the Old Railway Station site, with a Greek inscription including the personal name Demetrius), but those are on more common metals such as bronze. The use of gold here suggests the wealth and influence of its original owner, and it was perhaps produced for attachment to a statue of a deity. Published:Y. Petrina, 'Kanopos oder Menoutis? Zur Identifikation einer Ruinenstätte in der Bucht von Abuqir', KLIO 90 (2008), p. 205.
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