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Lot 2284
3rd century BC-3rd century AD. A mixed group of five plano-convex stone seal matrices in carnelian, chalcedony, rock crystal, green jasper, and hematite, with motifs including a gryphon, bird, moufflon sheep, bird and profile bust. 32 grams total, 10-28mm (1/2 - 1"). Property of a London, UK collection; acquired UK art market, 1970-1990. [5, No Reserve]. Fine condition.
Lot 2441
2nd century BC-2nd century AD. A rectangular limestone block fragment with four incised characters to one flat face. 2.1 kg, 20cm (8"). From a German, Cologne, collection; acquired in the 1970s. South Arabian sculpture associated with palaces and domestic settings often reflects a strong Graeco-Roman influence. In contrast, ancestral images, funerary portraits and votive dedications exhibit a distinct style that is characteristically local. The flat surfaces to the rear of these stele suggest that they were installed against walls and were most likely memorial plaques in honour of the dead. Relief plaques such as these are known from the upland areas of the Marib, the ancient centre of the Sabaean Empire. This area contains numerous stone ruins dating from between the first millennium BC into the early first millennium AD, a period when the region was enriched by the burgeoning Roman demand for spices that linked southern Arabia to Ethiopia and the cultures of the Indian Ocean in a complex trade network. [No Reserve]. Fair condition.
Lot 804
Neolithic, 5th-2nd millennium BC. A pecked and ground boat-shaped axe-hammer with convex cutting edge; edge and hammer butt showing some evidence of use; with central piercing to receive haft. Cf. Evans, J. The Ancient Stone Implements, Weapons and Ornaments of Great Britain, London, 1897, p.220-1 for type. 328 grams, 11cm (4 1/4"). Property of an Essex gentleman; formerly in the E. S. Gosling collection, 1980s; thence by descent. [No Reserve]. Very fine condition.
Lot 592
4th century BC and later. A large group of ancient glass, stone, glazed composition and shell beads; many shapes, patterns and sizes. 206 grams total, 4-25mm (1/4 - 1"). Property of a retired London collector; acquired before 1990. [No Reserve]. Fair to very fine condition, a large quantity.
Lot 1893
1st millennium BC. A carved jadeite D-shaped panel with holes to the upper and lateral edges; to one face a facing mask with narrow eyes, broad nose, downturned mouth, flanked by arched lines. 86 grams, 75mm (3"). From the private collection of a German gentleman; acquired prior to 1999. The Olmecs were the first people in Mesoamerica to create a codified religious universe that we can recognise today through the surviving art. Olmec deities had features of the powerful animals of the tropical rain forests, with the principle deity being a were-jaguar, brought to life through the mating of a human female and a male jaguar. These deities display a mix of human and feline features and the most enduring of these were-jaguar deities is the Rain Baby, a deity whose tears were believed to bring the life giving rains. The mix of human and feline features could relate to the Shamanic practice of trance rituals where the practitioner was believed to enter the body of an animal, such as a jaguar, in order to communicate with the spirit world. The creation of luxury objects from jade required a material which didn't occur in the heart of Olmec culture. Therefore rulers dispatched parties to procure the stone, and over these jade routes the Olmec empire reached into what is now Honduras, as well as to Mexico city area and the Pacific Ocean. This way, the culture expanded through the Mesoamerica and create the base for later Maya culture, traceable in art style, rituals and ballgame. The facial expression with the narrow eyes and crescentic mouth resembles that of the Olmec jadeite mask displayed in the The Metropolitan Museum of Art, New York under accession number 1977.187.33. . Fine condition.
Lot 956
9th century AD. A silver pendant with running filigree loops, suspension hoop, inset keeled crystal. 11 grams, 35mm (1 1/2"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. Rock crystal has been popular as an object of decoration and for its mystical qualities since the Neolithic. During the Migration Period these continued to be of importance and are found in Anglo-Saxon graves and come in a variety of forms, such as unworked pebbles, plain and facetted beads, spindle whorls and crystal balls. The stone appears to have been popular at all levels of society; the burial of a Frankish princess in Cologne Cathedral had an octagonal cut spindle whorl bead, and a globular bead placed in a wooden box at her feet. It would seem that quartz was valued for its magical properties; large beads may have been used for scrying and other forms of divination. In Christianity rock crystal was associated with the Virgin Mary due to its purity. [No Reserve]. Fine condition, frame chipped.
Lot 60
1st century AD. A bronze figurine of Cupid (Eros) standing nude on the right foot, left leg extended to the rear, wings to the back, left hand hollow to accept a bow and arm extended, right arm bent; cotton-reel base hollow to the underside. Cf. Rolland, H. Bronzes Antiques de Haute Provence, Paris, 1965, item 112. 225 grams, 12cm (4 3/4"). From a private collection; formed 1965-1975. The base that this figure of Cupid stands on identifies it as a statuette to be housed in a lararium, or household shrine. The majority of homes, shops and businesses had a shrine dedicated to the deities that were favoured by the owner. These could be either painted onto walls, set into a niche or be free standing shrines made of wood or stone and resembling small temples. They are usually found near the entrance to a building so as to allow someone entering to offer their prayers. A range of deities could be housed in the lararium, from the Classical gods of Olympus, to the more exotic gods of the eastern mystery cults, such as Isis and Cybele, to portraits of deceased ancestors. . Very fine condition; repaired.
Lot 665
Late Period, 664-332 BC. A carved stone head-rest with rectangular base and D-section rounded pad. See Taylor, J.H. Death and the Afterlife in Ancient Egypt, London, 2001 for discussion. 199 grams, 79mm (3 1/4"). Property of a London gentleman; acquired before 1970. . Very fine condition, small chip to base.
Lot 1684
15th century AD. A substantial D-section gold hoop with incised images to the shoulders of a hooded figure with a cross raising his right hand in blessing, and standing Madonna and child; the bezel rectangular with scooped panels, inset blue sapphire cabochon; blackletter text to the inner face 'amer et revir'; Malcolm Jones, Sheffield University, Dept. English Language & Linguistics, Senior Lecturer 1994-2009, and advisor to the British Museum and Portable Antiquities Scheme, says: the Anglo-French inscription reads aimer et ievir (or possibly ieoir ), but whatever the precise reading of the last word, it is a spelling of the verb joir (which has numerous variant sps!) meaning ‘enjoy’ – though they are infinitives, I’d be inclined to translate them as imperatives, i.e. Love and Enjoy! – a lot more potentially exciting than ‘revere’... If you look at the final letter –r , you’ll see for yourself that the first letter of that word is clearly not an r, but an i. See Bonewitz, Dr. Ronald Louis, Gems, 2013, p.59-63; Oman, C.C. Victoria and Albert Museum Catalogue of Rings, reprinted Ipswich, 1993, item 269 for type. 13 grams, 24mm overall, 18.56mm internal diameter (approximate size British Q 1/2, USA 8 1/4, Europe 18.12, Japan 17) (1"). Property of a Sussex gentleman; acquired before 1990. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. The stone was examined in detail by Dr. Bonewitz who notes that the stone is of a fine blue, and highly transparent. . Extremely fine condition. A large wearable size.
Lot 1821
18th century AD. A silver posy ring with band decorated with scrolling plant motif, inside engraved with 'aue dieu VOUS BENISSE' for 'Let God Bless You', bezel set with a facetted amethyst. 1.62 grams, 20.21mm overall, 18.81mm internal diameter (approximate ring size R, USA 8 3/4, Europe 19.00, Japan 18) (1/2"). Property of a Kent collector; acquired on the UK art market. The stone was examined in detail by Dr. Bonewitz who observed:The facet pattern of the stone shows an early version of the modern 'standard brilliant' cut. . Fine condition.
Lot 1236
13th-14th century AD. A stone figure of a bearded saint wearing a belted tunic, hands at chest and with hole through to accept a metal object, possibly a cross; to the rear of the head two small pins of metal for holding a halo. 82 grams, 10.7cm (4 1/4"). Property of a German collector; acquired in the 1990s. [No Reserve]. Fine condition.
Lot 1407
2nd-4th century AD. A carved stone statuette of Buddha, nimbate and wearing a loosely draped robe, with hands folded in the lap; the dais with swags and baluster to one corner. 5.5 kg, 29cm (11 1/2"). Acquired on the London art market prior to 1980. . Fine condition, nimbus and one knee partly absent.
Lot 705
Late Period, 664-332 BC. A bifacial carved red stone amulet in a form of a tyet, or 'knot of Isis', pierced for suspension. Cf. Andrews, C. Amulets of Ancient Egypt, London, 1994, p.44. 1.61 grams, 22mm (1"). Property of an Essex gentleman; acquired from a collection formed in the 1920s. The tyet symbolises strength, power and protection, and was closely connected with the Girdle of Isis prescribed by Chapter 156 of 'The Book of the Dead'. They are often red for blood, as they represent the blood of Isis; her protection, and by association the power with which she raised her husband Osiris from the dead. If a tyet was placed on the neck of the mummy, 'the power of Isis will be the protection of his body'. Yuya, the grandmother of Tutankhamun, was buried with one of red glass, and thereafter no mummy was knowingly interred without one among its wrappings, almost invariably in the upper torso. . Fine condition.
Lot 814
Neolithic, 4th millennium BC. A large roughly rectangular pink stone with flecks of mica to the surface, worn smooth on two sides; a round ball of mottled stone, flat to one end. 1.6kg, 4.8-18.5cm (1 3/4 , 7 1/4"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. [2, No Reserve]. Fine condition.
Lot 433
6th-7th century AD. A D-section gold hoop with expanding shoulders, the bezel an openwork balustered arcade with granule detailing, discoid plaque with inset cabochon garnet. See Ross M.C. Catalogue of the Byzantine and Early Mediaeval Antiquities in the Dumbarton Oaks Collection, Volume 2: Jewelry, Enamels and Art of the Migration Period, Washington, 2005, plate XIV (E"). 5.44 grams, 27mm overall, 17.31mm internal diameter (approximate size British N 1/2, USA 6 3/4, Europe 14.35, Japan 13) (1"). Property of a European gentleman living in the UK; formerly in a private collection formed in the 1990s. The stone was examined in detail by Dr. Bonewitz who observed: 'A fine quality garnet with a slight purple cast to the red.' . Very fine condition.
Lot 130
1st-2nd century AD. A red jasper intaglio of a Mercury bust and caduceus, in a later gold D-section hoop with plaited wire to the outer face, discoid bezel with inset. 4.76 grams, 21.63mm overall, 19.94 x 14.37mm internal diameter (approximate size British N, USA 6 3/4, Europe 13.85, Japan 4) (3/4"). Property of a European collector; acquired Europe, 1980s-1990s. The stone was examined in detail by Dr. Bonewitz who observed: 'Very nice jasper, bold carving.' . Very fine condition.
Lot 1822
17th-18th century AD. A D-section silver hoop with scrolled rococo detailing, discoid bezel with border of scrolled tendrils on a hatched band, inset chalcedony plaque with intaglio leaping stag on a baseline and monogram 'B' on a hatched field with collar inscribed 'Pain . Causes . Flight.:.' Cf. Oman, C.C. Victoria and Albert Museum Catalogue of Rings, reprinted Ipswich, 1993, item 612. 7.96 grams, 21mm overall, 15.70mm internal diameter (approximate size British J 1/2, USA 5, Europe 9.32, Japan 9) (3/4"). Property of a Sussex gentleman; acquired before 1990. The stone was examined in detail by Dr. Bonewitz, who notes that the carving is of an exceptionally high standard. . Fine condition.
Lot 644
Late Period, 664-332 BC. A restrung necklace of annular red and yellow stone beads with central wedjat amulet and sixteen poppy seed amulets; modern clasps. 23 grams, 45cm (17 3/4"). Property of a North American gentleman; previously in the Swift collection, California, USA, collected prior to 1960. . Very fine condition.
Lot 343
1st-2nd century AD. A bronze oil lamp with flared base, hemispherical bowl with projecting fluked nozzle, raised rim to the shoulder and upper face of the nozzle with pierced lug, curved bar handle with horse-head finial and pierced lug above the ears. Cf. Bailey, D.M. A Catalogue of the Lamps in the British Museum. IV. Lamps of Metal and Stone and Lampstands, London, 1988, item 3667 for similar. 152 grams, 86mm (3 1/2"). Property of an Essex, UK collector; acquired London art market, 1960s-1980s. [No Reserve]. Fine condition.
Lot 2283
3rd century BC-3rd century AD. A mixed group of plano-convex stone seal matrices, two in carnelian, one each in rock crystal, banded agate, and deeply patinated chalcedony, with motifs including a profile bust, ram, lion and kneeling figure. 27 grams total, 18-21mm (3/4"). Property of a London, UK collection; acquired UK art market, 1970-1990. [5, No Reserve]. Fine condition.
Lot 1014
10th century AD. A silver pendant showing a male figure, Odin (?), with body composed of an interlaced strip with hands gripping the edge of the frame; suspension loop in the form of a bearded male face. 11 grams, 34mm (1 1/2"). Property of a professional collector; acquired before 1990. Supplied with a positive X-Ray Fluorescence metal analysis certificate. In Norse mythology, from which stems most of our information about the god, Odin is associated with healing, death, royalty, the gallows, knowledge, battle, sorcery, poetry, frenzy, and the runic alphabet, and is the husband of the goddess Frigg. In Old Norse texts, Odin is depicted as one-eyed and long-bearded, frequently wielding a spear named Gungnir, and wearing a cloak and a broad hat. He is often accompanied by his animal companions—the wolves Geri and Freki and the ravens Huginn and Muninn, who bring him information from all over Midgard —and Odin rides the flying, eight-legged steed Sleipnir across the sky and into the underworld. Odin is attested as having many sons, most famously the god Baldr with Thor, and is known by hundreds of names. In these texts, Odin frequently seeks knowledge in some manner and in disguise (most famously by obtaining the Mead of Poetry), at times makes wagers with his wife Frigg over the outcome of exploits, and takes part in both the creation of the world by way of slaying the primordial being Ymir and the gift of life to the first two humans Ask and Embla. Odin has a particular association with Yule, and mankind's knowledge of both the runes and poetry is also attributed to Odin. This pendant would appear to represent Odin sacrificing himself on the world tree, Yggdrasill, in his pursuit for knowledge and the sacred runes. Odin hung himself from a branch of the world tree that hung over the well of Urd, pierced himself with his spear and looked into the sacred waters. He hung for nine days and nights poised between life and death and on the last day the runes revealed themselves to him and he gained the sacred and secret knowledge that elevated him to an even higher state in the world of the gods. The Jelling style of art takes its name from the tenth century, Danish, royal cemetery at Jelling in Jutland and is noted for the ribbon like animals that decorate a silver cup and a memorial stone from the site. . Very fine condition. Rare.
Lot 2331
3rd millennium BC. A carved stone offering vessel formed as a simulated wicker pannier supported on the back of four recumbent bovines on a gusseted rectangular base. 767 grams, 12.5cm (5"). Property of a North American gentleman; formerly in a German collection, acquired from M. Yeganeh, Frankfurt, prior to 1980. . Fine condition.
Lot 943
9th-10th century AD. A Carolingian or Ottonian flat-section gilt-bronze ring comprising of a hoop with knop to the underside, elliptical bezel with dentilled edge clasping a keeled rock crystal insert. 24 grams, 46mm overall, 20.31mm internal diameter (approximate size British V, USA 10 1/2, Europe 23.77, Japan 22) (1 3/4"). Property of a Middlesex gentleman; acquired in the 1980s. The supposedly magical properties of quartz have been recognised since the Neolithic and Bronze Age, where large quantities of pebbles are often associated with chambered tombs and burial mounds across sites in Britain, the Isle of Man and Ireland. In the Anglo-Saxon and Viking period beliefs in the supernatural qualities of the stone continued and examples have been found in a number of contexts associated with burials, such as perforated beads often in the shape of spindle whorls, spheres of rock crystal mounted in metal bands and simple opaque white pebbles. Later Anglo-Saxon manuscripts discuss the virtues of quartz as protecting the wearer from diseases, toothache, lightning and the evil eye. [No Reserve]. Fine condition.
Lot 340
2nd century AD. A bronze figure-of-eight open oil lamp with flat base and vertical walls, basal ring; loop handle to the rear with ivy-leaf reflector; central boss with separately-cast eagle figurine. Cf. Bailey, D.M. A Catalogue of the Lamps in the British Museum. IV. Lamps of Metal and Stone and Lampstands, London, 1988, item 3755 for type. 256 grams, 12.5cm (5"). Property of a Surrey collector; acquired in the early 1970s. . Fine condition, repaired.
Lot 2277
3rd millennium BC. A figure of a male worshipper in lapis lazuli, with peaked cap or hairstyle, large nose and eyes; short arms and traces of object at the chest, possibly offering held in hands. 47 grams, 56mm (2 1/4"). From the Rihani family collection, 1980s. During Early Dynastic times highly ranked Sumerians began to place stone statues of themselves before the deities inside temples. Inscriptions were sometimes carved onto these statues and these reveal that they were dedicated by kings, priests, grain stewards, scribes and temple singers, in other words the rulers and chief functionaries of the great institutions of Sumerian society. Access to the most sacred parts of a temple where the main cult statue was housed, was reserved for these elite groups, both male and female, and their statues could be interpreted as symbolizing and reinforcing the hierarchical order that prevailed in Sumer. Lapis lazuli was a costly mineral that was imported from the mountains of Afghanistan and reserved for the elite members of society for use in jewellery and sculpture. . Fine condition.
Lot 939
5th century AD. A gilt-bronze rectangular buckle plate with straps and rear riveted panel, vertical ribbing to the edges, complex inlaid pattern of cloison garnets, three with stepped edges; tongue with forward edge curved over the loop, discoid shield with raised cell and inset kidney-shaped garnet cloison; substantial carved rock crystal loop. See Menghin, W. The Merovingian Period. Europe Without Borders, Berlin, 2007, for similar examples, e.g. I.12.1, I.13.1, I.15.4. 163 grams, 86mm overall (3 1/2"). Property of a gentleman; acquired in the late 1960s-early 1970s. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. A small number of belt buckles made from rock crystal have been found and mostly related to the Ostrogoths, the Eastern branch of the Gothic confederacy of tribes; the Western branch being the Visigoths who would go on to settle Southern France, Spain and North Africa. The Ostrogoths traced their origins to the Greutungi – a branch of the Goths who had migrated southward from the Baltic Sea and established a kingdom north of the Black Sea, during the third and fourth centuries, and their name would appear to mean 'glorified by the rising sun'. The relative scarcity of rock crystal buckles would indicate that they were reserved for the elite and that they were only used for special occasions, such as religious ceremonies, diplomatic meetings, and other court ceremonial; the fragile nature of the stone would make them unpractical to wear on a daily basis, particularly in warfare. Rock crystal had been regarded as having special qualities since the Neolithic when pebbles of the crystal had been placed in graves. It would go on to be revered by the Romans and manufactured into luxury items, and it is possibly this influence, along with a native belief in the magical power of the stone, that led to it being used for the aristocracy. . Very fine condition. Rare.
Lot 128
3rd century AD. A round-section gold hop supporting a discoid plaque with beaded border, cell with inset jasper cloison, intaglio motif of Fortuna standing with rudder and cornucopia. Cf. Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991, item 222. 3.79 grams, 19mm overall, 16.19mm internal diameter (approximate size British K 1/2, USA 5 1/2, Europe 10.58, Japan 10) (3/4"). From a Harley Street private collection of jewellery, formed over 25 years. Fortuna, the goddess of fate, destiny and good luck, was extremely popular in the Roman Empire and is one of the most commonly depicted deities. She was intimately connected to the fate of an individual, family, the state and the Imperial family and was often depicted as the protective deity of a city, such as the famous bronze statue of her by Eutychides that stood in the city of Antioch. She is commonly depicted as a matronly figure wearing a crown in the shape of the walls of a city, and carrying a cornucopia, that represented the bounty of good fortune that she could bestow, as well as a rudder that symbolised her guiding the fate of people. The stone was examined in detail by Dr. Bonewitz who observed: 'An attractive yellow-brown jasper, with fine detail in the figure.' . Very fine condition.
Lot 1400
10th-12th century AD. A carved stone figure fragment of Parshvanatha standing nude against a background of coiling snake body and holding lotus blossoms to his thighs; seven hooded cobra rearing above head drilled socket to the underside. Cf. Pal, P. The Peaceful Liberators: Jain Art from India, Los Angeles, 1994, p.135, for a similar statuette now in the Indian Museum, Calcutta. 9.3 kg, 37cm (14 1/2"). From an important London collection, acquired in the 1990s. Veneration of the twenty four Jinas is the most significant devotional focus in Jainism. These perfected-beings serve as role models to guide the faithful on the proper path to liberation from the endless cycles of rebirth. While all are revered as great teachers, four of the Jinas occupy the most exalted positions and have received particular attention in textual and artistic portrayals. Parshvanatha was the twenty third Jina and is believed to have lived in the eighth century BC. He was the penultimate of the Tirthankaras, or 'ford-crossers', the last being Mahavira, a contemporary of the Buddha. According to legend Parshvanatha was protected by the seven-headed snake king Dharana from the attacks launched against him by the demonic Meghamalin. Hence his symbolic creature is a snake and he is always depicted with the seven hoods of the snake rearing over him protectively. It is probable that Parshvanatha is based on a real historical person, possibly a prince, who founded the order of Nirgrantha, or 'the untrammelled', meaning those who have freed themselves from the bonds of Karma. Jinas are always shown in the seated posture or the standing body-abandonment pose, kayotsarga. The latter is a position uniquely Jain and combines vigorous austerity and non-violence through immobility, thereby avoiding even accidental injury to other creatures. Perhaps because Jain images are often indistinguishable from those of the Buddha, a distinctive chest mark, srivatsa, was introduced to establish a deity's identity as a Jina. Early in their history, due in part to a conflict over what constitutes total renunciation, Jainism split into two groups: the Svetambaras, meaning 'white clad' or clothed, and the Digambaras, 'sky clad' or naked. The Digambaras are the more austere sect and their monks consider any possessions, including clothing, a hindrance to spiritual liberation. The central teaching of Jainism is Ahimsa, meaning none-violence. This is summed up by the last Tirthankara, Mahavira who said, Do not injure, abuse, oppress, enslave, insult, torment, torture, or kill any creature or living being. . Fine condition; arms absent.
Lot 2262
9th-8th century BC. A carved stone cylinder seal with standing bird facing a terminal with a star, accompanied by a typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder Seal of Brown Stone, 31 x 14 mm. A single item composes the main design: it is a bird with long neck, wings spread, and walking. A terminal is composed of a bush or tree, a short pole with top piece, and a star. The whole design is placed between upper and lower rules. This is a Neo-Assyrian seal in linear style, c. 900-750 B.C. The design has been deepened a little. 10.34 grams, 31mm (1 1/4"). Property of a London gentleman; part of his family collection since the 1970s. . Fair condition.
Lot 1385
Northern Wei Dynasty, 386-534 AD. A carved stone architectural panel depicting a seated Buddha on a throne, the right hand extended in the gesture of charity; the figure carved in the half-round in a rectangular recess with decorative upper border; traces of blue pigment to the robes. 2.95 kg, 31.5cm (12 1/4"). UK art market, acquired prior to 2000. . Fair condition.
Lot 817
Neolithic, 4th-2nd millennium BC. A mixed stone group comprising: a ground and polished axe-hammer with perforation to receive shaft, in a mottled dorite stone, with an old inked label in Danish yxa från Skirsocken arn efter M.P. Jansson 1928'; a bifacial knapped crescent sickle-knife, in brown-grey flint showing some wear polish to convex edge and surfaces. See Glob, P. V., Danske Oldsager II, Yngre Stenalder, Copenhagen, 1952, nos.551 and 593 for similar examples. 293 grams total, 90-120mm (3 1/2 - 4 3/4"). Property of a West London gentleman; acquired on the London art market before 1995; formerly in a Scandinavian collection before 1930. [2, No Reserve]. Very fine condition.
Lot 449
6th-7th century AD. A bronze lamp with flared base, D-section bowl and nozzle, raised rim to the flat upper face, two pierced lateral lugs, loop handle to the rear with crescent reflector and small loop. Cf. Bailey, D.M. A Catalogue of the Lamps in the British Museum. IV. Lamps of Metal and Stone and Lampstands, London, 1988, item 3797 for type. 493 grams, 15.5cm (6"). From a German collection; acquired on the German art market before 1990. [No Reserve]. Fine condition.
Lot 1689
14th century AD. A round-section gold hoop with octagonal bezel, scooped facets and central garnet cabochon. Cf. Oman, C.C. Victoria and Albert Museum Catalogue of Rings, reprinted Ipswich, 1993, item 257. 2.45 grams, 21mm overall, 18.40mm internal diameter (approximate size British Q, USA 8 1/4, Europe 17.77, Japan 17) (3/4"). From an old Munich collection; acquired on the German art market before 2000. The stone was examined in detail by Dr. Bonewitz who observed: 'A fine quality garnet, probably Bohemian.' . Extremely fine condition.
Lot 681
3rd century BC and later. A designer necklace of various beads, including mixed stone and glass, ancient to Venetian decorated glass beads. 30 grams, 50cm (19 3/4"). Property of a North American gentleman; previously in a New York collection, purchased from Henry Anavian prior to 1985. . Very fine condition.
Lot 2251
Circa 3000 BC. A carved black stone cylinder seal with kneeling figures in front of a triangular structure, accompanied by a typed and signed scholarly note issued by W.G. Lambert, Professor of Assyriology at the University of Birmingham 1970-1993, which states: Cylinder Seal of Black Stone, 18 x 16 mm. The design is a frieze of three kneeling female figures, all raising their hands and wearing pigtails. Two are separated by a single vertical row of four fly-like motifs, the other intervening space has two row of the same kind. This is a variant of a Jemdet Nasr Sumerian design, but quite distinct in that the female figures are not squatting, but kneeling, they hold nothing in their hands, and the rows of apparent flies are not from the Jemdet Nasr repertoir. This is reported to have come from Kerman, and that would explain the phenomena. It is a little worn, but it is a rare item. It dates to c. 3000 B.C. 10.11 grams, 18mm (3/4"). Property of a London gentleman; part of his family collection since the 1970s. . Fine condition.
Lot 820
Neolithic, 4th-2nd millennium BC. A mixed group of stone tools comprising: five polished axe blades; two tanged arrowheads; six flint scrapers. 351 grams total, 46-84mm (1 3/4 - 3 1/4"). Property of a professional gentleman, acquired 2011; formerly in a private collection formed before 1950. [13, No Reserve]. Fine condition.
Lot 1049
10th-12th century AD. A group of items comprising of: an iron torc with coiled ends forming loops; a string with cylindrical and square-section glass beads, circular bronze pendant with scroll decoration, openwork D-shaped bronze pendant, a Byzantine coin, bronze bell, silver ring with amber(?) bead, stone cross, large animal tusk. 183 grams total, 19-90cm (7 1/2, 35 1/2"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. [2]. Fine condition.
Lot 2216
A polished three-sided 'pyramid' of lace agate with numerous twists and swirls picked out in various shades of white and green, the base unpolished to expose the patterns in the raw stone. See Bonewitz, Dr. Ronald Louis, Rocks & Minerals, 2008, p.230-231. 140 grams, 95mm (3 3/4"). Found Mexico; from the historic ‘Victorian Museum’ and later collection of Gregory, Bottley & Lloyd (Gregory's); formerly Gregory, Bottley & Co. (1932-1981) and previously J. R. Gregory & Co. (1898-1932); originally James Reynolds Gregory (1858-1898"). This item is part of a historic collection of fossils and minerals which has recently been reviewed by leading geological expert Dr. Ronald Bonewitz. The firm Gregory, Bottley and Lloyd (Gregory's), was acquired by TimeLine Auctions in 2016. London-born James Reynolds Gregory (1832-1899) founded the company, which is the second longest-running gem and fossil dealership in the world. James was educated at Archbishop Tennison's School, and afterward found employment in a jewellery company on Regent Street. In 1858 he established his own business in King William Street. A few years later he moved to ‘very extensive premises’ in Golden Square, Covent Garden. He was one of the best known dealers in London, exhibiting at major commercial shows throughout the world and winning awards for excellence in Paris in 1867, Sydney in 1879 and London in 1862, 1883 and 1884. James primarily bought his stock at auction, from collectors and other dealers, and supplied many major collectors and scientists of his day. He built superb personal collections, a selection going to the British Museum. He wrote many papers and was a member of several learned societies including the Society of Arts. The business became known as J.R. Gregory & Company in 1896, still under James' management with the assistance of his son Albert Gregory (b.1864"). When James died three years later, the business passed to Albert. At the end of the 19th century most London dealers had folded or retired, many selling out to J.R. Gregory & Co. Albert continued by acquiring Russell and Shaw (Est. 1848) in 1925 and Francis H. Butler (Est. 1884) in 1927. Percy Bottley (1904-1980) took over the company in 1931, renaming it Gregory, Bottley & Company with respect to his predecessors. Percy’s company survived the 2nd World War by buying out all of its competitors, including the supplier to Pitt-Rivers, Samuel Henson (Est. 1840) and G.H. Richards (Est. 1897) in 1936. Percy also added many important collections to his stock including those of Rev. F. Holmes in 1940, and the Graves collection in 1943. Following Percy's death in 1981, the business was sold to Brian Lloyd, whereupon it became Gregory, Bottley & Lloyd. Brian had been Sotheby’s main Natural History expert in the 1960s and 1970s, and subsequently traded from Pall Mall. The business continued to thrive, and Brian purchased the Joseph Neeld (1789-1856) collection in 1974 and the historic gold collection of H.S. Gordon, first exhibited at the Empire Exhibition, South Africa in 1936. Brian moved the business to 12-13 Rickett Street in 1982, and to 13 Seagrave Road in 1993. He carried on the company's specialization in historic collections, most recently acquiring that of Robert Ferguson (1767-1840) in 2000. The business moved to Walmer in Kent in 2008, and was acquired by TimeLine in April 2016. Trading History Est. 1858 (59 Frith Street, Soho) 1859 - 1861 (3 King William Street, Strand) 1862 - 1866 (25 Golden Square, Covent Garden) 1866 - 1874 (15 Russell Street, Covent Garden) 1874 - 1895 (88 Charlotte Street, Fitzroy Square) 1896 - 1906 (1 Kelso Place, Kensington) 1907 - 1926 (139 Fulham Road, Chelsea) 1926 - 1981 (30 (Old) Church Street, Chelsea) 1982 - 1993 (12-13 Rickett Street, Fulham) 1993 - 2007 (13 Seagrave Road, Fulham) 2008 - 2016 (59 Liverpool Road, Walmer, Kent) 2016 - (363 Main Road, Harwich, Essex) [No Reserve]. Extremely fine condition.
Lot 2286
3rd-7th century AD. A mixed group of stone stamp seals in carnelian (3), black agate (3), agate (2), and chalcedony (1), with various intaglio motifs comprising: one with a bird; one with birds amid foliage; one with a fish; three with ibexes; three with tamga motif. 31 grams total, 9-16mm (1/4 - 3/4"). From an important private London collection; formed in the 1970s and 1980s. [9]. Fine condition.
Lot 1186
6th-7th century AD. A gold cross with tubular arms, central shield with granulated bead border framing a garnet; suspension ring decorated with interlaced wire pattern. 5.58 grams, 55mm (2 1/4"). From an important London collection, acquired in the 1990s. The stone was examined in detail by Dr. Bonewitz who observed: 'Minor chip to garnet but otherwise good transparency and colour.' . Fine condition, restored
Lot 2256
19th-17th century BC. A carved stone cylinder seal with three standing figures, accompanied by a typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder Seal of Dark Brown Stone, 17 x 8.5 mm. On the right a god in horned tiara and long robe raises one hand to a facing figure, bare-headed, but in similar long robe, who also raises one hand. To the left is a nude female, shown frontally, and to her left a divine symbol, a monkey, is placed between the two facing figures. This is an Old Babylonian seal, c. 1900-1600 B.C., from Mesopotamia or a neighbouring area. 2.62 grams, 17mm (3/4"). Property of a London gentleman; part of his family collection since the 1970s. . Fine condition.
Lot 1177
9th-11th century AD. A mixed group of spindle whorls in glass, stone and ceramic of mainly biconical profile. 240 grams total, 20-45mm (3/4 - 1 3/4"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. [12, No Reserve]. Fine condition.
Lot 1584
Circa 1800 AD. A 'stone bow' or bullet-shooting crossbow by J. Johnson of Manchester with rifle-type wooden stock, iron trigger, sights and mechanism, iron inlay plaques to the upper and lateral faces, long iron curved bow with hooked ends, tapered nose with rib detailing. 2.3 kg, 81cm (32"). Property of an Essex collector; acquired on the UK art market. . Fair condition. Scarce.
Lot 12
1st century AD. A flat-section gold hoop with expanding shoulders and flat plaque; applied beaded wire borders and fillet to the underside extending through pairs of pellets and opposed filigree volute scrolls; the bezel an elliptical beaded wire frame with granule detailing, with a modern facing mask of a youthful male, perhaps Eros. Cf. Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991, item 232. See Kondoleon, C. Aphrodite and the Gods of Love, Boston, 2011, pp. 107-149 for a discussion on Eros in the Greek and Roman world. 12 grams, 26mm overall, 18 x 20.82mm internal diameter (approximate size British W, USA 11, Europe 25.0, Japan 24) (1"). Very fine condition. A large wearable size.Property of a London collector, acquired before 1980.Eros, (Roman Cupid), was regarded as the deity who awoke the passions and fostered love in the hearts of both gods and mortals. The poet Hesiod sings his praises as the most beautiful of the gods. His worship seems to be much more ancient than that of the winged boy in popular imagination. At Thespiae, in Boeotia, his cult had ancient origins and the main image at his temple was a block of stone, most likely a meteorite, a common object of worship in many of the more ancient cults of Greece. His power to rouse and move the world was viewed by the Orphic mystery cult to regard him as the creator of the world. Although there are many visual images of Eros there are surprisingly few literary references to him from ancient times. The only mythological account of the birth of Eros comes from Plato's Symposium, where we learn that he was conceived by Poros and Penia, plenty and poverty. It was not until the seventh century BC that the poet Sappho describes him as the son of Aphrodite. The worship of Eros was not highly organised and, aside from his temple at Thespiae, his worship seems mainly to have been one confined to the home, or in conjunction with Aphrodite at her temples. By the Roman period his image and worship becomes more recognisable and depictions of him are found on many objects; however there was no formal worship of the god and he seems to have been largely worshipped in the home, as in Greece.
Lot 832
Mid 2nd millennium BC. A rectangular-section rhyolite stone idol with incised facial features, robe with central vent and lacing, belt with pellets. 108 grams, 14cm (5 1/2"). Property of a German gentleman; acquired before 1989. Such deep patination of rhyolite only develops over millennia. . Fine condition.
Lot 21
2nd-3rd century AD.A gold ring with tapering shank, widening at the shoulders to a flat bezel set with a carnelian intaglio engraved with the portrait of a bald philosopher with long beard, possibly Chrysippus. 6.88 grams, 21.76mm overall, 19.40mm internal diameter (approximate size British S 1/2, USA 9 1/2, Europe 20.98, Japan 20) (3/4"). Very fine condition.Property of a London gentleman; acquired before 1995.Chrysippus of Soli lived from 279 to 206 BC and was a renowned Stoic philosopher and head of the school in Athens. He excelled in logic, the theory of knowledge, ethics and physics. He created an original system of propositional logic in order to better understand the workings of the universe and role of humanity within it. Chrysippus adhered to a deterministic view of fate, but nevertheless sought a role for personal freedom in thought and action. The stone was examined in detail by Dr. Bonewitz who observed: 'The carnelian is very good quality and the carving is to a very high standard.'.
Lot 1028
9th century AD. A bronze mount depicting a scene of a male figure with almond-shaped eye, pointed curved chin, small nose, long hair with a curl above the forehead; dressed in a loose short-sleeve tunic(?), with hands and neck tied together; facing a bird with large almond-shaped eye, curved beak and prominent crest or feather(?) on the top of its head, finely incised feather decoration; a pin to the reverse; foreign workmanship. 12 grams, 47mm (2"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. The design on this mount is definitely inspired by Scandinavian and British Isles Viking art, however the style of execution points towards foreign workmanship, possibly continental European. Some features are very distinctive for Viking art, such as a curl on the top of the head and almond-shaped eyes, which can be found also on small mounts of female figures holding a shield, found both in Scandinavia (Vrejlev, Denmark) and England (Ipswich, Suffolk"). The face style, with distinctive curved chin, is typical of those on picture stones from Gotland, Sweden, especially the ones from Stora Hammar and Sanda. The style of bird is unusual, but the closest parallel can be found on the Franks Casket, which could have served as an inspiration for the style of the mount. The story is most likely the one of Wayland (also known as Volundr or Weland), the most famous blacksmith from Germanic mythology, attested both in Viking and Anglo-Saxon mythology. The poem Volundarkviða from the Poetic Edda tells how Volundr and his two brothers married swan maidens (valkyries) and lived with them for eight winters, after which their wives abandoned them. Unlike his brothers, Volundr decided to stay at home waiting for his wife to return, but was captured by kind Niðuðr and imprisoned on an island. A ring, which was given to Volundr by his wife, was taken from him and Niðuðr gave it to his daughter, Boðvildr. In revenge, Wayland killed the king's sons when they visited him in secret, and fashioned goblets from their skulls, jewels from their eyes, and a brooch from their teeth. He sent the goblets to the king, the jewels to the queen and the brooch to the king's daughter. To humiliate the king even more, he raped princess Boðvild when she visited him to mend the ring given to her. He then escaped with artificial wings he created from birds' feathers. The suffering of a blacksmith is attested also in the Old English poem Deor, in which there is also a mention of his imprisonment by king Niðhad. His story can be also found on artefacts, notably the Franks Casket and the Ardre picture stone. Some of the most famous swords and armour was said to have been forged by this legendary blacksmith. The other interpretation of a bound figure might imply it to be Loki, imprisoned after his betrayal of the Æsir gods and bound with the entrails of his own son. The bird, in this case most likely a raven, can represent a messenger of Odin. We know from the Norse poem Baldrs draumar that Odin visited a volva (seeress or wise woman) in the realm of the dead, Helheim. After an exchange of words, in the end he accuses her not to be a wise woman, but rather the mother of three giants to which she responds that no one will visit her until Loki will be free. Some scholars' (e.g. Ursula Dronke) interpretation is that the volva was Loki disguised, imprisoned in Helheim, who fathered three world monsters with giantess Angrboda (Fenrir, Jormungandr, Hel) and the mount can point to the scene of conversation between bounded Loki and the raven, the messenger of Odin. . Extremely fine condition. Excessively rare.
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