There are 400830 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe6th-10th century AD. A restrung necklace of mainly iridescent mostly oblate polychrome beads with twelve gold pendant trefoil cells, each with a carved stone insert; modern clasp. From an important private London collection; formed in the 1970s and 1980s. 21 grams, 52cm (20 1/2"). Fine condition.
4th century BC. An oval polished stone idol with rectangular base, carved facial features and clasped hands. Property of a gentleman; acquired on the Asian art market. See Gloman Meritt private collection of ancient artifacts from the Philippines. 1.6 kg, 15.3cm (6"). [No Reserve] Fine condition.
Neolithic, 5th-3rd millennium BC. A superb axe with all surfaces fully polished; the slightly asymmetric convex cutting edge showing some wear polish, tapering to a rounded butt, the butt showing evidence of use as a 'strike-a-light'; in a pale grey flint with light patination. Property of a Hampshire, UK, collector; found Catfield, Norfolk, UK, 1960s; recorded at Norwich Museum. See Adkins, Roy and Jackson, Ralph, Neolithic Stone and Flint Axes from the River Thames, BM Occasional Paper No 1, no.265 for a very similar form example. The shaping of the asymmetric cutting edge is deliberate and ensures that, when hafted, the cutting edge is presented at the perfect angle for felling trees. 331 grams, 15cm (6"). Extremely fine condition. Rare.
Neolithic, 5th-3rd millennium BC. A high quality fully bifacial flint axe with extensive polishing; convex cutting edge tapering to a rounded butt, the edges polish blunted; in a mottled orange-brown flint with river terrace patination; with old collector label inked 'NEAR GODALMING'. Property of a Hampshire, UK, collector; found near Godalming, Surrey, UK, late 19th century; recorded at Guildford Museum. See Adkins, Roy and Jackson, Ralph, Neolithic Stone and Flint Axes from the River Thames, BM Occasional Paper No 1, no.211 for a very similar example. 347 grams, 16cm (6 1/4"). Extremely fine condition.
Palaeolithic, 400,000-300,000 BP. A massive piriform bifacial flint hand-axe with cream-coloured cortex, flattened hand edge and tapering body to a small blade point; some evidence of having been in a fire at some time. Found near Mundersley, Norfolk, UK, 1996; recorded at Norwich Museum. Cf. Evans, J. The Ancient Stone Implements, Weapons and Ornaments of Great Britain, London, 1897, item 33. 1.6 kg, 20cm (8"). Fine condition.
Neolithic, 3rd-2nd millenium BC. Group comprising: a small knapped and almost fully polished small axehead in cream stone; a miniature 'axehead' or chisel with highly polished cutting edge in red-brown flint and two ground stone gouges with convex and incurved cutting edges in fine grained white stone (patinated to grey"). Property of a professional gentleman, acquired 2011; formerly in a private collection formed before 1950. 69.05 grams total, 32-65mm (1 1/4 - 2 1/2"). [4] Very fine condition.
Neolithic, 5th-3rd millennium BC. Group comprising: mixed flint implements, all showing good quality shaping and retouching, including three fragments of bifacial knives; with a cutting edge fragment of a polished stone axe in grey basalt. Property of a professional gentleman, acquired 2011; formerly in a private collection formed before 1950. 285 grams total, 25-65mm (1 - 2 1/2"). [19, No Reserve] Fine condition.
Neolithic, 3rd-2nd millennium BC. A group consisting of a perforated axehead with rounded end and tapered blade, a stone loom weight with rounded sides and small perforation. Property of a German collector; acquired in the 1990s. 847 kg, 95mm-11cm (3 3/4 - 4 1/4"). [2, No Reserve] Fine condition.
2nd-3rd century AD. A round lead plaque with the figure of a goddess in the centre with horsemen to either side of her with cockerel and attendant figure; the sun, moon, candelabrum (Menorah?) and fish in the upper register, lower register with various animals. Property of a Surrey collector; acquired in the early 1970s. The Danubian Riders were associated with a mystery religion of the Getae and the Dacians, peoples of Thracian stock who lived in ancient Dacia (roughly equivalent to modern-day Romania"). The cult of the Danubian Riders began to spread among Roman soldiers soon after 106 CE, when Dacia was conquered by Trajan and made a province of the Roman Empire. Traces of the cult have been found as far away as the Roman provinces of Gaul and Britain.The plaques are found in both stone and lead and depict two horsemen, a goddess with a fish, as well as prostrated characters, attendants, and various symbols, such as the sun, the moon, stars, and numerous animals (including the ram, dog, lion, eagle, peacock, raven, cock, snake, and sometimes even the bull"). Scholarly identifications of the goddess are widely divergent. The two horsemen have been identified with the Dioscuri by some scholars and with the Cabiri brothers by others. The Greek iconography of the Dioscuri has had a particular impact on that of the Dacian Riders, though a local identity is more likely and that they developed from a earlier hero figure who is identified as Sabazios. 49 grams, 65mm (2 1/2"). [No Reserve] Fine condition.
9th century AD. A complete woman's brooch and pendant assemblage comprising: two bronze oval brooches, each domed with raised ornament, wide flange, ferrous remains of the pin to the reverse; suspended from the lower edge of each brooch a triangular openwork spacer plate with three tiers of red and green glass tubular beads, the lower tier with a discoid pendant plaque with bands of raised pellets; three double-link chains running between the plates; three more chains from each plate with an amuletic or decorative pendant comprising a bronze model knife in its sheath, a silver(?) dirhem coin, an iron model dog with punched decoration, a latch-lifter key, a pair of bronze crotal bells, a stone disc or spindle whorl. Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. See MacGregor, A. et al. A Summary Catalogue of the Continental Archaeological Collections, Oxford, 1997, item 4 for oval brooches; cf. Ewing, T. Viking Clothing, Stroud, 2007. Women's display jewellery in the Viking age comprised both utilitarian and symbolic items. The brooches were worn high on the chest, supporting an apron-type overdress (hangerok) with the beads and chains strung between them and various small items attached. The pendants probably symbolised the authority of the female in the domestic sphere (key, coin, spindle whorl), in husbandry (model animal, crotal bells, model knife"). 572 grams total, brooches: 62mm (2 1/2"). Fine condition, cleaned and conserved.
8th-11th century AD. A bronze pendant depicting a horse with traces of green enamel decoration on the body, on the back a large head facing forward with lentoid eyes and suspension loop to the top. Found Winteringham, Humberside, UK, 2011. In Norse belief Valhalla, meaning Hall of the Slain, was a huge hall in Asgard which was ruled over by Odin. It was here that dead warriors were led by the Valkyries to join the masses of those who have died in combat and are known as Einherjar. It is in Valhalla that various legendary Germanic heroes and kings live, and together with the dead warriors they prepare to aid Odin during the events of Ragnarök.This pendant is a rare depiction of a slain warrior being taken to Valhalla, depictions of this sort are normally found on rune stones such as the Tjängvide stone from Gotland. 3 grams, 27mm (1"). Fair condition.
2nd-1st century BC. A double ring formed as two gold round-section hoops with two scaphoid bezels flanked by granules and a third discoid plaque between the hoops; the outer edge of each plaque with ropework border, cabochon garnets and amethyst insert. Ex property of a London gentleman; acquired 1990s. In the Classical world amethyst was associated with Dionysus the god of wine, due to the purple of the stone colour being likened to wine. It was believed that wearing the stone would keep a person sober when drinking. Pliny described garnets as being male and female according to the depth of colour. He also mentions that the best garnets came from India where they were considered as sacred. 10 grams, 45mm overall, larger hoop: 19.86mm internal diameter (approximate size British T 1/2, USA 10, Europe 22.33, Japan 21); smaller hoop: 17.96mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15) (1 3/4"). Very fine condition. A large wearable size.
10th-12th century AD. A carved stone figure of a bearded man wearing a circlet, holding a sword pointing downwards; on the reverse visible hair and clothes details. Property of a German collector; acquired in the 1990s. A jarl is a title held by a territorial chieftain in Viking Age Scandinavia, ranking only below a Konung (king"). The title signifies a leader, a sort of chieftain, and the original form of the nobility title of earl, but considered next in rank to the king. 17 grams, 60mm (2 1/2"). [No Reserve] Fair condition, some parts chipped.
11th-12th century AD. A fragment of a stone figure with engraved bearded male face in the upper part and raised phallus in the lower part, possibly a depiction of fertility god Freyr. From an old Munich collection; acquired on the German art market before 2000. Freyr, together with his twin sister Freyja, was one of the most important Viking gods of prosperity, peace, fertility and the sun. Adam of Bremen wrote in his Gesta Hammaburgensis ecclesiae pontificum that he was worshipped together with Thor and Woden (Odin) in the famous temple at Uppsala and that he was fashioned with an immense phallus. Also, libations were made to this image when a marriage was performed, probably to ensure the prosperity of the newly-wed couple. In later Icelandic sources, the best known myth is his marriage with the beautiful giantess Gerdr, who was wooed for him by his servant Skirnir. However, Freyr gave his sword to Skirnir in exchange for undertaking this mission, which turned out to be a crucial decision because without it he would lose his life in battle against the fire-giant Surtr. Apart from the sword, Freyr also owned the magical ship Skidbladnir and the boar Gullinbursti, both made by dwarves. In the late Icelandic tale Ögmundar tháttr dytts there is a mention of the Freyr's statue being carried in a wagon around Sweden accompanied by a young priestess; this indicates that the local people believed that Freyr was alive and would need to have a sexual relationship with his wife. 13 grams, 45mm (1 3/4"). [No Reserve] Fair condition.
9th-12th century AD. A carved stone pebble with detailed bearded face, arms clasped at the chest, hatched tunic, braided hair to the reverse and patterned belt. Property of a German collector; acquired in the 1990s. Cf. Sedov, B.B. Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, table LXXXII, item 3. 5.14 grams, 34mm (1 1/2"). [No Reserve] Fine condition. Rare.
8th-12th century AD. A mixed group of discoid spindle whorls comprising: one in lead; one in baked clay, one in a pinkish stone, one in baked clay with indented top and bottom with pronounced ridge along middle of body; a large example with incised chevron pattern. Property of an American collector; acquired 1980-2000. Cf. Griciuviene, E. Seliai. The Selonians, Vilnius, 2007, item 360. 84 grams total, 15-39mm (1/2 - 1 1/2"). [5, No Reserve] Fine condition.
8th-12th century AD. A mixed group of discoid spindle whorls comprising: one in a deep rose stone with incised palm motif; one in a light rose stone with spine along the centre of the body, incised lines to the body; one in a mottled rose stone with indented top and bottom and pronounced spine along the body; one in bone with domed body and flat underside, body decorated with incised sun burst pattern and dots; one of green glass with flaring body and pronounced rib; one in green glass, spheroid in shape with applied yellow wave pattern; one in a mottled rose stone with flat top and bottom and rounded body; a large example in black clay with indented top and bottom, rounded body and incised flower pattern with rope design over body. Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. 138 grams total, 21-43mm (1 - 1 3/4"). [8, No Reserve] Very fine condition.
14th-15th century AD. A rectangular-section band, the exterior engraved with reserved acanthus leaves separating three reserved scrolls inscribed in blackletter French script 'tout mou couer' (with 'mou' being a variant spelling for 'mon' and thus reading 'All my Heart'"). Ex Peter Trill collection, Dorset, UK; found Corfe Castle, Dorset, UK, by Mr Eric Trill in the early 1980s; thence by descent. Supplied with a positive X-Ray Fluorescence metal analysis certificate. Disclaimed under the Treasure Act, reference number 2015 T173; accompanied by a disclaiming letter and other correspondence. See Evans, J., English Posies and Posy Rings, Oxford, 1931, p.14 for similar Black Letter inscriptions; see Dalton, O. M., Frank's Bequest Catalogue of the Finger Rings, London, 1912, no.970 for a ring of very similar form. Recorded with the Portable Antiquities Scheme with reference number DOR-27E4D3; accompanied by a print out of the PAS report. Accompanied by an Art Loss Register certificate. The story of this ring and its finding has been filmed, interviewing the late finder and others, under the title 'Revealing Secrets' (see video link above) and a copy of the dvd accompanies the ring. The ring was found at Corfe Castle, Dorset, in the 1980s and, as the date of finding was before September 1997, it was judged under the historic common law procedure for Treasure Trove; as there was no evidence for it to have been 'hidden with intent to recover', it was disclaimed. Corfe Castle has stood overlooking the village and a gap in Challow Hill in the Isle of Purbeck since the time of William the Conqueror and includes one of the earliest stone-built fortifications in England; Corfe derives from the Old English ceorfan (cutting) and the site has shown evidence of earlier occupation in Saxon times with the young Saxon king Edward the Martyr being slain here in 978 AD, only three years after succeeding to the throne. The Norman castle has seen many historic events, from its initial construction soon after the Battle of Hastings, the erection of the stone keep by Henry I, the castle was besieged by Stephen during the Anarchy period, it was enlarged by John and further altered by Henry III; during the Wars of the Roses, Edmund Beaufort marched from it to the battle of Wakefield; it was sold by Elizabeth I to Sir Christopher Hatton and passed to Sir John Bankes in 1635, following which, during the Civil War, it held for the king and was besieged and then relieved; in 1645 it was besieged again and captured by the Parliamentarian forces of Colonel Bingham, following which it was 'slighted' to prevent it being used and was robbed by locals for its stone; although the castle was regained by the Bankes family following the Restoration of Charles II in 1660, it was never again occupied and passed to the National Trust in 1980. The ring dates to the Wars of the Roses period, at a time when English was the Common tongue and Latin the language of the Church and law but French was still the language of the Court, of chivalry and of love; its French inscription embodies the Medieval ideals of love and it would have been the gift to a noble lady from her future husband on their betrothal. 2.97 grams, 18mm overall, 16.42mm internal diameter (approximate size British L, USA 5 3/4, Europe 11.30, Japan 11) (3/4"). Very fine condition.
13th-14th century AD. A broad D-section gold hoop with triangular plaque, inset pyramidal diamond to the apex, important in that the diamond set within it exhibits the very earliest form of diamond cutting, the polishing of the natural faces of the octahedral diamond crystal, this is uncommon in rings of this age which are usually set with unpolished crystals, and therefore this diamond will be among the earliest ever cut. Property of a Suffolk lady; formerly in the Deago collection, by descent from the vendor's mother. Cf. Hinton, D. Medieval Jewellery, Aylesbury, 1982, items 15, 16. This lot is accompanied by a copy of Richard Falkiner's 1972 article The Early History of the Diamond which deals with the setting of diamonds from a historical perspective. The first literary reference to diamonds occurs in the works of the Roman author Marcus Manilius (fl. 1st century AD) and his contemporary Pliny who describes a probable diamond as 'the most valuable of gems, known only to kings'. This daimond shows the earliest form of diamond cutting: polishing the faces of a natural crystal. Diamonds naturally form octahedral crystals and medieval diamond 'cutting' consisted solely of polishing the natural pyramidal faces, as in this stone. The stone was introduced to the Roman world from India, and the Latin name adamas arrived in English from that source, giving rise to such medieval variants as 'adamant', 'diamaunt' and 'diamant'. The Latin term was itself derived from Greek for 'unconquerable', relating to the stone's hardness. This quality caused problems for the artificial shaping of the stone, and medieval jewellers were content to take octahedral diamond crystals and place them in purpose-made settings. Truncated forms of octahedron were created by skilful splitting, and in the 15th century the practice developed of cutting the stone with pulverised fragments and diamond dust. This skill was especially associated with the court of the Dukes of Burgundy; Gilbert of Metz mentions La Courarie, the diamond-cutters' quarter of Paris, in his description of that city in 1407. An appreciation of diamond's special refractive qualities led to the development of the customary 'rose cut' in the later 16th century. Cardinal Mazarin (1602-1661) is associated with the development of this style. The modern 'brilliant cut' was devised by the Venetian Vicenzo Peruzzi around 1700, and remains largely unchanged to this day. 6.25 grams, 27mm overall, 19.08mm internal diameter (approximate size British R 1/2, USA 9, Europe 19.69, Japan 19) (1"). Very fine condition. A wearable size. Extremely rare.
15th century AD. With a published Joan of Arc association dating back over a century, exhibited twice in France in the 1950s and in the Museum of Lancashire Millennium Exhibition, January to December 2000, this ring has a silver-gilt hoop with facetted outer face, expanding shoulders and two rectangular and angled fields to the bezel; the hoop with incised niello-filled florid lozenges and triangles, the design giving the appearance of three crosses, the ends of the shoulders with blackletter 'I' and 'M' (for 'Iesus Maria'), the lateral faces with blackletter 'IHS' and 'MAR' (as abbreviations for Jesus and Maria); a small section inserted later to the hoop, sufficient possibly to enlarge it from a band suitable for a small, feminine finger to a larger male(?) hand; the degree of wear generally evident to the ring, including to the hoop insert, suggesting an extended period of wear, long after the date of making, perhaps indicative of the ring's appeal as a talisman; contained in an antique, small oak casket in the form of an architectural reliquary with pitched and hipped lid, the ridge surmounted by a plain cross in iron, the box red velvet-lined, with a removable rectangular holder (the compartment beneath possibly having once held a small document or label), arranged to display the bezel and purpose-made to hold the ring, indicating the reverence in which the ring was already held when the box was made for it; the ring is very unusual in that the vast majority of rings with angled rectangular bezels have them engraved with pictures of saints rather than being inscribed (generally termed as iconographic rings); inscriptions on such rings are normally on the hoop part. Accompanied by a professional drawing showing the ring extended, with the three crosses forming part of the design to the shank clearly depicted; also with publications, documents, press cuttings and correspondence including a photocopy of the 1917 Oates privately printed catalogue; a cuttings book containing an extract from the Sotheby's sale of 1947 (including an image of the ring), with press cuttings from such publications as the Evening Standard, Daily Telegraph and Le Figaro at the time of that sale, followed by others (some illustrated, showing both ring and casket) including from English, American and French newspapers and periodicals in the 1950s, from when the ring was exhibited in France (at La Turbie and also at Rouen and Paris); associated correspondence with the mayor of La Turbie and further referring to the 500th rehabilitation anniversary exhibition; typescript research notes and a signed note by Cyril Bunt (dated 1949) discussing Cardinal Beaufort and the ring and its descent to Lady Morrell; papers relating to two interviews with the British Broadcasting Corporation (BBC) in 1953 and 1956; correspondence with the French embassy in London, shipping documents and permissions for the ring to be sent to France for exhibition; a photocopy of the last letter (with transcript) of Joan of Arc; the exhibition pamphlet for La Turbie (4 copies, 3 in English, 1 in French, 1952), the catalogue for the Jeanne d'Arc et Son Temps exhibition (Rouen and Paris, 1956); documents, including the mounted display caption, from the AD 2000 - The Story of Christianity in Lancashire exhibition at the Museum of Lancashire held in 2000; other correspondence of various dates from 1950s to 1980s regarding the ring, most of the letters with envelopes. Property of an Essex gentleman; inherited 1979 from Dr James Hasson of Harley Street, London; acquired Sotheby's sale, 1 April 1947, lot 37; formerly in a private collection (1929-1947); previously with the F. A. Harman Oates collection (sold Sotheby's, 20 February 1929, lot 21); earlier with Augustus John before 1914, the gift to him of Lady Ottoline Morrell; by descent, through the Cavendish-Bentinck family (Duke of Portland) from cardinal Henry Beaufort (1375-1447), who was present at the trial and execution of Joan of Arc in 1431; the ring stated by Joan at her trial to have been a gift from her parents. Supplied with a positive X-Ray Fluorescence metal analysis certificate. Asked if on the crowned heads there were not rings of gold or other substance, she answered: I do not know. Asked if she herself did not have some rings, she replied to us, bishop: You have one of mine; give it back to me. She said the Burgundians have another ring; and she asked us, if we had her ring, to show it to her. Asked who gave her the ring which the Burgundians had, she answered her father or her mother; and she thought the names Jhesus Maria were written thereon; she did not know who had them written; she did not think there was any stone in it; and she was given the ring at Domrémy. She said that her brother gave her the other ring which we had and she charged us to give it to the Church. She said she never cured any one with any of her rings and [130] ......Asked of what substance one of her rings was, on which the words Jhesus Maria were written, she answered that she did not properly know; and if it was of gold, it was not of fine gold; and she did not know whether it was of gold or brass; she thought there were three crosses, and to her knowledge no other signs save the words Jhesus Maria. Asked why she gladly looked at this ring when she was going to battle, she answered that it was out of pleasure, and in honour of her father and mother; and having her ring in her hand and on her finger she touched St. Catherine who appeared before her....; see Quicherat, Jules, Procés de Condamnation et de Réhabilitation de Jeanne d'Arc, Paris, 1841-1849 (first publication of the full trial texts); see Barrett, P. W., Trial of Joan of Arc, New York, 1932 (first English translation of the trial texts"). Oates, F. A. H., Catalogue of Finger Rings; Brought Together by F. A. Harman Oates, privately printed, London; Sotheby's, sales catalogues, 20 February 1929 (lot 21) and 1 April 1947 (lot 37); Hasson, Dr James, The Banquet of the Immortals, Poseidon Press, Edinburgh, 1948 (310 copies printed), pp.94-100 for a romanticised account of this ring and the death of Joan of Arc (extract from this work included); The Marvellous and Symbolic Story of the Ring of Jeanne d'Arc Exhibited at the Chapelle St-Jean of La Turbie, n.d (1952; English and French language versions accompanying this lot); Jeanne d'Arc et Son Temps, Paris, 1956, Commémoration du Vme Centaire de la Réhabilitation de Jeanne d'Arc, 1456-1956, Rouen and Paris, p.61, no.190 (original catalogue accompanying this lot"). Accompanied by an Art Loss Register certificate. Cyril George Edward Bunt (1882-1969) was an art historian and Librarian at the Victoria and Albert Museum, the writer of several books on such topics as the works of Sir Frank Brangwyn, David Cox and Leonard Campbell Taylor, together with a history of Windsor Castle; he researched the pedigree of the ring and its descent through the Beaufort and Cavendish families (typescript history, discussion and genealogical tree included); he corresponded with Augustus John regarding the ring and confirms how John received it. It is worth noting that the Condemnation trial documents were not published (in France) before 1849 and that the first English translation was published in 1932; prior to these publications, the only access to the original documents would have been in the archives in Paris and, as the association between this ring and Joan of Arc is published at least as early as 1917 (the Oates Catalogue), the connection appears to have been made before any details of Joan's description of her rings would have been generally known. The Cyril Bunt typescript documents have only very recently been found. Ring: 4.90 grams, 21mm overall, 18.27mm internal diameter (approximate size British Q, USA 8, Europe 17.49, Japan 17); casket: 127 grams total, 79 x 58 x 77mm (Ring: 3/4 casket: 3 1/4 x 2 1/4 x 3"). Good condition; surfaces worn.
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. Property of a German collector; acquired in the 1990s. 82 grams, 10.7cm (4 1/4"). [No Reserve] Fine condition.
10th-11th century AD. A large Rajastan stone relief depicting the Hindu god Shiva standing in a shrine with columns supporting an arched roof; Shiva has matted hair piled up into a conical shape and held in place by a band of beads, crescent moon in the centre and small head of Ganga at the top; Shiva holds a drum in his upper left hand and water pot in his lower left; upper right hand holds a skull topped staff and lower right holds a skull cup; the god wears a loin cloth and bands of necklaces, armlets, bracelets and a long wreath that falls to his feet; to either side of the shrine are semi-naked female figures wearing loin cloths, necklaces, armlets, bracelets, anklets and large earrings and holding a pot and flowers; above these on the right is a naked yogi seated on a lotus flower, hands in prayer; to the left, also seated on a lotus flower, is a naga with the body of a man, hands in prayer, lower parts of a snake, with hood of multi-headed snake arching over the top; mounted on a custom made stand. UK art market, acquired prior to 1980. Desai, V and Mason, D. Gods, Guardians, and Lovers: Temple Sculptures from North India, A.D. 700-1200, Ahmedabad, 1993. The panel depicts Shiva as Bhairava, a fierce manifestation associated with annihilation. Shiva manifested as Bhairava in order to chastise the creator god Brahma who had become arrogant as well as lust after his daughter and grew four heads in order that he might continually see her. In creating these four heads, Brahma divided the world into the four directions, due to his desire for that which no longer was within himself. It is said by some that Brahma's desire for his daughter was caused by Kama (the god of desire) who was born to madden and delude people, a task for which Brahma gave him magical arrows. Embarrassed by the attentions of Brahma his daughter ascended heavenwards. This provoked Brahma to manifest a fifth head, the quintessence of the other four. Upon seeing this, Shiva became enraged and manifested as Bhairava and cut off the fifth head of Brahma with his sword. In this act of murder, Shiva-Bhairava became Kapalin or skull-carrier, a name which also refers to a particular tantric sect. The skull of Brahma's fifth head became stuck to his hand and although himself a god, Shiva-Bhairava had to somehow expiate his sin and, in order to do so, Bhairava became the Supreme Beggar, after whom many holy men style themselves. Bhairava took upon himself the Kapalika vow, which was to wander the world, begging alms, until the skull fell from his hand. Shiva-Bhairava eventually arrived at the holy city of Varanasi where the skull fell away into a sacred well and Shiva took up residence at the Vishwanath temple. 62 kg, 67cm including stand (26 1/2"). Fine condition.
1st millennium AD. A group of two stone items comprising: a polished rhyolite cup with rounded underside, two lateral holes for suspension; an annular limestone macehead with bird-head detail including beak, large discoid eyes, lobes to the upper edge. Property of an American gentleman; acquired on the London art market in the 1990s. 418 grams total, 49-66mm (2 - 2 3/4"). [2, No Reserve] Fine condition.
New Kingdom, 1550-1070 BC. A green glazed composition frog amulet with hieroglyph to the underside. Property of a London gentleman; acquired by his father in the 1970s; thence by descent. Cf. Andrews, C. Amulets of Ancient Egypt, London, 1994, item 28(h"). The Frog was worn as a protective talisman by both the living and the deceased, and was made of a variety of materials including gold, copper, different coloured stone, steatite and glazed coloured faience glass, especially in green or turquoise. The frog amulet was worn for its magical powers against sickness, pain and suffering. It was also given to extend good wishes for the recovery from disease and as a talisman for a long life. Heket or Heqet, was the ancient Egyptian frog-headed Goddess of childbirth. Egyptian women looked to her for protection during childbirth and wore amulets with her image. She was depicted in paintings and statues in human form with the head of a frog. Heket was the wife of Khnum the god of procreation (reproduction) who moulded the child and its ka (soul) within the womb, giving it the breath of life and then maintaining the health of the infant child after birth. Khnum was also a powerful protector of the dead and the god of rebirth and resurrection. As the wife of Khnum, Heket was also associated with resurrection. 0.83 grams, 13mm (1/2"). Very fine condition.
Upper Devonian Period, 419-358 million years BP. A montage group of trilobites in stone matrix showing four Crotalocephalina gibba; one Dicranurus monstrosus. From the collection of the palaeontologist R Gledhill; collected between 1930 and 1960, from Alnif, Morocco, North Africa. 2.4 kg, 22.5cm (8 3/4"). Fine condition.
1300-1000 BC. A chalcolite stone cylinder seal with lion attacking a bull and scorpion below a crescent; accompanied by a museum-quality impression, and an old scholarly note by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder seal of cuprous sulphide. The design shows a lion attacking the back of a bull from behind. A scorpion below a crescent forms the terminal. This seal comes from Syria/Palestine and dates to c. 1300-1000 BC. It is based on Early Dynastic seals, following a contest scene of such a seal. It is deeply engraved and in very good condition. Property of a London gentleman; part of his family collection since the 1970s. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. 4.08 grams, 17mm (3/4"). Fine condition.
Circa 3000 BC. A stone Jemdet Nasr cylinder seal with horned animal and eye shape; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology, University of Birminham, 1970-1993, which states: Cylinder seal of brown stone. The design, which is linear in style, consists of a standing horned animal and an eye-shape, with linear fillings to complete the design. This is a Sumerian Jemdet Nasr seal, c. 3000 BC. It has an unusual combination of items n its design, and is in very good condition. Property of a London gentleman; part of his family collection since the 1970s. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. 8.51 grams, 18mm (3/4"). Very fine condition.
15th-10th century BC. A drum-shaped stone seal with intaglio frieze depicting a seated figure in profile with a horse(?) facing, solar disc and two opposed winged animals. Ex Rihani family collection; acquired 1980s. See Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, p. 58-74 for discussion. 54 grams, 39mm (1 1/2"). Fine condition, usage wear.
2300-2200 BC. A stone cylinder seal, perforated down the centre and with contest scene between male figures and lions; 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 green stone. A contest scene of two symmetrically placed pairs is shown: a hero in short kilt is grappling with a rearing bovine, and a hero in kilt and flat cap grappling with rearing lion. This is an Akkadian seal, from Mesopotamia or west Iran, c. 2300-2200 B.C. It is in fine condition. From a London, UK, collection; formed in the 1980s. 11 grams, 26mm (1"). Fine condition.
1500-1300 BC. A stone cylinder seal with glazed composition outer sleeve, figural scenes; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder Sael [sic] of White Stone with Outer Layer of Faience 35 x 16 mm. There are two designs. In the one a sphynx [sic] is walking above a huge ear of barley which rests on a guilloche, as to the left two standing figures raiee [sic] their hands, and to the right one standing figure raises his hands. The other scene shows a seated figure (obviously a god) is faced by a standing figure raising his hands. All the figures wear long clothes. This is a Mitanni seal, from anywhere between the east Mediterranean and Kurdistan. It is large for its type, and well cut, but not in perfect condition. The layer of faience is damaged and in part missing. It dates to c. 1500-1300 B.C. Property of a London gentleman; part of his family collection since the 1970s. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. 9.39 grams, 36mm (1 1/2"). Fine condition.
1900-1700 BC. A green agate cylinder seal depicting a Lamma goddess and a god with a mace wearing a brimmed hat and short clothes, inscribed with name of the seal's owner, Ahi-shagish son of Ya'uzum, servant of Nin-shubur; accompanied by a typed scholarly note by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder seal of green stone with black inclusions. The design shows two, facing standing gods: a Lamma goddess on the right, in horned tiara and long flounced robe, raising both hands. On the left is the god with mace, in hat and short clothes, holding his mace at the waist. A three-line cuneiform inscription names the ancient seal owner: Ahi-Shagish, son of Ya'uzum, servant of (the god) Nin-shubur. This is an Old Babylonian seal, c. 1900-1700 B.C. and is in good condition. Ahi-Shagish is a Babylonian name, Ya'uzum is an Amorite name. From an important collection of Classical and Near Eastern seals formed in the late 1970s and early 1980s; the property of a London gentleman, cat. no.26372/70. TimeLine Auctions, 19th June 2013. Lot No. 0821. 11 grams, 28mm Fine condition.
Circa 3000 BC. A Jemdet Nasr stone cylinder seal with three running horned animals; accompanied by a museum-quality impression and an old scholarly note by W.G. Lambert, late Professor of Assyriology, University of Birmingham, which states: Cylinder seal of cream and dark marble. The design is a frieze of three running horned animals achieved by gouging and a little drilling. This is a Sumerian seal of the Jemdet Nasr period, c. 3000 BC, from Sumer or a neighbouring area. It is worn, but the design remains clear. The hole is not completely drilled: something not rare with this type of Jemdet Nasr seal. Property of a London gentleman; part of his family collection since the 1970s. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. 13 grams, 21mm (1"). Very fine condition.
2300-2200 BC. A black limestone cylinder seal with frieze of a snake god, worshipper and altar; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder Seal of Black Stone 32 x 20 mm. The design is based on a snake god: human above the waist, a snake below. He is raising one hand. Behind him stands an attendant god clasping the hands at the waist. facing the snake-god is a seated human worshipper in long robe holding up a small cup. Between the snake-god and worshipper is a large kind of altar, with a small vessel on top and flames rising. The star of Venus and the lunar crescent fill spaces. This is an Akkadian seal, c. 2300-2200 B.C. It has an interesting design, but so far the name of the snake god is not known from written sources. The stone is worn, but the design remains clear. Property of a London gentleman; part of his family collection since the 1970s. The subject of the Akkadian snake-god has been discussed at length in Wiggermann, F.A.M. Transtigridian Snake Gods in Finkel, I.M. & Geller, M.J. Sumerian Gods and Their Representations, Cuneiform Monographs 7, Groningen, 1997. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. 23 grams, 31mm (1 1/4"). Very fine condition, worn.
Circa 3000 BC. A long, slender hardstone cylinder seal with intaglio animals; accompanied by a museum-quality impression and signed manuscript scholarly note issued by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder Seal of Green Stone: Brocade style: two pairs of two horned animals tête bêche, a bird and filling fish. Sumerian, c.3000 B.C. Joined from two pieces, otherwise fine condition. Rare as complete. Property of a London gentleman; part of his family collection since the 1970s. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. 13 grams, 78mm (3"). Very fine condition, repaired. Rare.
Isin Dynasty, 1100-1000 BC. A limestone cylinder seal with frieze of two bulls, a tree and cuneiform text; accompanied by a museum-quality impression and an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder seal of Fawn Stone, 27 x 15.5mm. The design shows two standing bulls facing a tree with short trunk between them. Above the bulls' backs is a two-sign cuneiform inscription: dingir t[uk] Have a god which means in effect, Be successful. This is a Babylonian seal from the period Isin dynasty, c.1100-1000 B.C. Private collection, London, UK; formed 1970s-1980s. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. 11 grams, 26mm (1"). Fine condition, worn.
24th-22nd century BC. A carved stone cylinder seal with deeply carved frieze of three ibexes. Property of a South West London gentleman; acquired by his father in the 1970s; by descent 1986. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, p.32-5. 11 grams, 24mm (1"). Fine condition.
Circa 3000 BC. A limestone cylinder seal with spouted and other vessels; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder Seal of Green Stone 23 x 14 mm. The design is a frieze of two panels separated by a tree in each case. Each panel has vessels of two types: one with a spout at the top of the belly and a tall neck above that, and one depicted as a circle with spikes projecting like the ends of a simple cross. The one panel has one of each type, the other two of each type. This is a Sumerian Jemdet Nasr seal, c. 3000 B.C. The design is rare, perhaps unique, and the seal is in fine condition. Property of a London gentleman; part of his family collection since the 1970s. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. 7.81 grams, 23mm (1"). Fine condition. Rare, possibly unique.
2200-2100 BC. A hardstone cylinder seal with frieze of figures; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Cylinder Seal of Green Stone 12.5 x 7 mm. The design consists of three standing figures in a row: all facing right, wearing long robes to the ankles, all with their hair done up in a bun at the back of the head, and all raising one hand in a gesture of worship. This is a late Akkadian or early Neo-Sumerian seal, c.2200-2100 B.C. It is cut in the distinctive style of that period and in a characteristic stone. The design is a rare one, and the seal is in fine condition. Property of a London gentleman; part of his family collection since the 1970s. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. 0.89 grams, 13mm (1/2"). Very fine condition. Rare.
3rd-5th century AD. A mixed group of stone seals comprising: one green hardstone, intaglio tamga with crescents and star; one banded agate, intaglio profile bust; one carnelian, intaglio profile bust within a wreath; one carnelian, intaglio tamga with crescents; one haematite, intaglio profile bust; one banded agate, intaglio standing lion; one rock crystal, standing zebu with text above. Property of a London gentleman; part of his family collection since the 1970s. 32 grams total, 13-21mm (1/2 - 3/4"). [7] Fine condition.
3rd-2nd millennium BC. A pinkish stone altar or idol of tapered cylindrical form, with a shallow groove at top which runs down two sides. Property of a London gentleman; previously with Pars Antiques, London W1, UK, 1990s. Attested in a vast area of western Asia, ranging from the Caspian Sea to the Iranian plateau and modern-day Afghanistan, these columns remain enigmatic objects. Their specific archaeological contexts would suggest that they were prized and important sculptures, probably related to the religious and cult sphere as either idols or altars. 13 kg, 31cm (12 1/4"). Fine condition.
4th-3rd millennium BC. A stone figurine of a seated female with arms outstretched, small breasts at the chest and rounded lower body; head tilted upwards and with a bun at the back. From an important London collection formed before 1980. Known as violin idols, they are more properly described as Beycesultan-Kusura figurines with the name deriving from two excavated sites in Anatolia. They are commonly found in domestic structures and buildings that have been described as shrines. They have also been found in graves and probably acted as amulets for the dead. Their exact meaning remains mysterious, but they are generally thought to have been related to the sphere of reproduction and fertility of nature. 227 grams, 10cm (4"). Fine condition.
1st millennium AD. A mixed group comprising: a stone figure of a standing robed female with hood; a bronze zoomorphic mount with pierced lugs to the feet; a bronze goat figurine; a pair of silver bracelets with granule detailing. Property of a Scandinavian collector; acquired on the European art market. 61 grams total, 28-61mm (1 - 2 1/2"). [5, No Reserve] Mainly fine condition.
13th-15th century AD. An early Ottoman stone ogee arch in a rectangular lintel; square panels to the upper corners each with a disc and hexafoil; segmented band to the inner edge with moulded decoration; white, blue and ochre painted detailing. Property of a London collector; acquired 1960s. 80+ kg, 124cm (49"). Fine condition, repaired.
A 19th Century (possibly earlier) Chinese Celadon jade Seal of square section with canted corners, the top carved in relief with two writhing Chilong dragons, the underside finely carved with four archaic style Chinese characters, the stone with mottled brown inclusions, 5.25cm wide x 2.5cm high
Loading...
