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Lot 171
A Queen Elizabeth II silver commemorative pill box, produced to commemorate the Queen's Diamond Jubilee and engraved accordingly, accented with a small inset brilliant-cut white stone, Marks for Birmingham 2012, maker W I Broadway & Co, 4.5cm, 20grams, boxed, sold along with a Queen Elizabeth II silver pill box, of oval form produced for the Queen's Golden Jubilee, cased, 13grams, maker HBH, a silver pill box produced for the Queen's diamond jubilee, maker DP, 8grams, cased and a George V silver vesta case, marks for Birmingham 1912, maker Robert Pringle & Sons, 23grams
Lot 94A
A vintage 18ct gold, ruby and diamond shaped-oval dress ring. The three graduated oval mixed-cut rubies rub-over set in yellow within a round brilliant diamond 21-stone scalloped white gold border, on a yellow gold 'D' section shank, with hallmarks for London 1970, size P+, 4.5g gross Condition Report: Would benefit from a thorough clean as the clarifty of the stones is currently obscured. There is some general surface scratching to the stones and the setting, the shank with some minor wear.
Lot 82
"Teutonic Knight with Sword." Depicts a knight dressed in armor, standing with hands clasped around sword. Attached to stone base. Artist signed "Prof. V.H. Seifert" on back.Artist: Victor Heinrich SeifertDimensions: 7" L x 5" W x 20" HCountry of Origin: AustriaCondition: Age related wear and some scratching.
Lot 83
"Jeanne d'Arc." Depicts Joan of Arc, patron saint and heroine of France, dressed in armor, standing with hands clasped and closed eyes. Attached to stone base. Artist signed back left.Artist: Marius Jean Antonin MercieDimensions: 7" L x 5" W x 20" HCountry of Origin: FranceCondition: Age related wear, with sword missing.
Lot 84
Figure in style of Theodoric the Great, King of the Ostrogoths, by Peter Vischer the Elder, 1512-13, from the monument of Emperor Maximilian I in the Court Church in Innsbruck, Austria. Depicts king dressed in armor and standing with shield, sword, and axe. States on front of base "Teodorickkonic Der Coot." And on side states "C.A. Czichna Insbruk. Alle Rechtevorbehalten." Attached to stone base.Dimensions: 4.75" L x 4.75" W x 11" HManufacturer: C.A. Czichna InsbrukCondition: Age related wear.
Lot 419
Ca. 100-300 AD (intaglio), ca. 1700-1800 AD (brooch). A remarkable example of neoclassical jewelry, featuring a Roman stone oval-shaped intaglio that has been carved with a bust of Diana, the Greek goddess of the hunt and moon. The carving is highly detailed and shows Diana facing left, with her wavy hair arranged in an intricate cascading coiffure. The facial features of the goddess are delicately rendered, with particular attention paid to her piercing eyes, strong nose, and serene expression. The intaglio is set in a neoclassical gold cell that features a twisted ropework border, which complements the classical style of the piece. The intaglio is then suspended in the center of a brooch setting that is formed from a gold shank with its upper body intricately covered with fine scrollwork. Each end of the shank is adorned with a carefully rendered ram head. The ram heads are another example of the intricate attention to detail in this piece, with their curled horns and lifelike eyes adding a further element of sophistication to the brooch. The catchplate with a pin to the reverse allowed the brooch to be securely fastened to clothing, making it a practical as well as a beautiful accessory. Incorporating Roman intaglios in neoclassical jewelry was a common practice in the late eighteenth and early nineteenth centuries. The revival of classical art and culture during this period led to a renewed interest in ancient Roman intaglios, which were often used as the centerpiece for neoclassical pieces that were both aesthetically pleasing and intellectually stimulating.Size: L:41.6mm / W:26mm ; 6.86gProvenance: Private London collection; formerly acquired on the British art market in 1990s.
Lot 427
Roman Period, Ca. 31 BC. A sheet of papyrus inscribed with demotic text in black ink. Demotic was used specifically for writing detailed documents, like accounting, literacy, and religious texts, and represents a movement from standardised hieroglyphs. Demotic was used famously as one of three writings on the Rosetta stone. The Brooklyn Museum, 37.1803E.Size: L:245mm / W:340mm ; 605gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Lot 444
Ca. 3000 BC. A cream-coloured alabaster vessel with a flat base, tapering sides and an outward flaring rim. This elegant object may have been used to carry out ceremonies or make religious offerings to the gods. The vessel was carved from a monolith of calcite (alabaster) that is similar in colour and appearance to the stone commonly used by Egyptian sculptors for luxury tableware in the late 4th millennium BC.Size: L:60mm / W:70mm ; 290gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 447
Old Kingdom, ca. 2686-2160 BC. A handsome vessel, meticulously crafted from stone that exhibits a stunning texture and form. The vessel's smooth and polished surface is impressive, and its tall form with incurved walls and broad opening adds a sense of grace and elegance to the piece. The circular, flat base anchors the vessel in place, providing a sense of stability and balance. Egyptian stone vessels such as this one were used for a variety of purposes, including storage of liquids, oils, and perfumes, as well as offerings to the gods. The vessel was likely considered a valuable and prized possession, both for its functionality and its beauty.Size: L:85mm / W:60mm ; 250gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 450
Early Dynastic Period, ca. 2750-2649 BC. A beautiful conical bowl, with tapering walls and a flat base. Sculpted to exploit the natural veining of the stone. Clearly, the craftsman knew how to take advantage of the swirling bands of colour of the alabaster to give a sense of movement as a decorative element on the vessel.Size: L:50mm / W:100mm ; 160gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 499
Ca. 400 BC. A gold pendant of central wired shaft threaded with five stone beads, secured at the bottom with a small hoop. To the top, a pair of suspension rings, flanked by a pair of S-curved dolphins with fanned tails.Size: L:Set of 2: 23.1-27.8mm / W:18.9-12.2mm ; 3.61gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 514
Ca. 323-31 BC. A finely rendered gold disc-shaped pendant, hammered from thin gold, embellished with three bands of alternating beaded and ropework decoration alongside the edge of the central amethyst cabochon. A suspension loop makes this piece wearable and it comes with a modern necklace cord. Excellent condition, but the stone is restored.Size: L:30.3mm / W:7,8mm ; 17.56gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 566
Ca. 100-300 AD. A gold finger ring of a D-shaped hoop rising to an oval bezel containing a stone intaglio depicting a bust of God Asclepius seen in right profile and wearing a laurel wreath. His face features a pointing nose, deeply set eyes and impressive beard. His attribute, a serpent entwined around a staff, appears at the right edge. In Greek mythology Asclepius is a God of medicine, son of God Apollo and Koronis. His temples (asclepeion) also served as hospitals and sanatoriums.Size: D: 19.1mm / US: 8 1/4 / UK: Q 1/2; 9.56gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 568
Ca. 100-300 AD. A dark stone intaglio engraved with a scene of a winged God holding a trident, seated on the deck of a galley with a head-shaped stern and oars in the water; set in a bezel of a later gold ring comprising a round hoop with twisted decoration.Size: D: 17.13mm / US: 6 3/4 / UK: N 1/2; 6.67gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 585
Ca. 100-300 AD. A gold finger ring of carinated, round-section band tapering to the back. Bezel set with an emerald stone. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 14.15mm / US: 3 1/8 / UK: F 1/2; 2.69gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 595
Ca. 200-300 AD. A gold ring of faceted, flat-section band tapered to the rear. Bezel contains a stone intaglio depicting a bust of Sol Invictus wearing a radiate crown. Sol Invictus - Unconquered Sun - Roman syncretic deity, combining the features of the Roman solar god Sol and the Indo Mithra. The cult was introduced by Emperor Aurelian in 274 AD. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 15.04mm / US: 4 1/4 / UK: I; 6.68gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 603
Ca. Late 2nd - 3rd Century AD. A finely engraved intaglio of hard stone with a bust of Julia Domna, a fascinating personality hailing from the Roman Empire's Severan dynasty. She is portrayed in her right profile, with a distinctive aquiline nose, wavy hair, and large eyes. The detailing on the intaglio is remarkable, with every feature etched with precision and finesse. The intaglio is set in a 22k gold ring of a round hoop with expanding shoulders, featuring a faceted profile that accentuates its intricate design. Julia Domna was the second wife of the Roman Emperor Septimius Severus, and she was known for her intelligence, beauty, and wit.Size: D: 17.45mm / US: 7 1/4 / UK: O 1/2; 9.91gProvenance: Private Swiss Collection, formed since the 1980s.
Lot 608
Ca. 200-300 AD. A nicolo intaglio pendant finely engraved with a scene of a majestic lion advancing near a tree, with intricate details that capture the essence of the animal's power and grace. The lion's muscles and fur are rendered with remarkable precision, giving the intaglio a sense of life and movement. The intaglio is mounted on a gold pendant frame with a twisted border, and suspension loop creating a striking contrast between the textured gold and the smooth, polished surface of the nicolo stone. The twisted border adds an element of texture and depth to the design, while the suspension loop allows the pendant to be worn as a necklace or attached to other pieces of jewelry. Nicolo was believed to have the power to ward off evil and protect the wearer from harm. As a result, nicolo intaglios were often worn as amulets or talismans, as well as for their aesthetic appeal.Size: L:26.8mm / W:26.8mm ; 3.75gProvenance: Private London collection; British art market 1990s.
Lot 660
Ca. 100-300 AD. A gold ring formed of a round hoop with a carinated profile, which adds depth and dimension to the design. The shoulders of the ring gently expand to support an oval-shaped bezel cell, which is set with a stone intaglio with engraving that depicts a standing figure of God Mercury (Greek Hermes). In the image, Mercury is holding a money bag in his left hand, which is a symbol of his role as the god of commerce and financial gain, and in his right hand, he holds kerykeion, a staff with two serpents entwined around it, topped with a pair of wings and sometimes a globe. It is said to have the power to bring peace and healing, but also to cause destruction and death. Mercury was also the messenger of the gods, and he was known for his speed and agility. He was also associated with travel and communication, and he was often portrayed wearing a winged hat and sandals. He was believed to be able to move freely between the world of the gods and the world of mortals, which made him an important figure in both mythology and religious practice. For a similar depiction of Mercury, see Amgueddfa Cymru – Museum Wales, Item Number 81.79H/4.10.Size: D: 15.40mm / US: 4 5/8 / UK: J; 9gProvenance: Private London collection; British art market 1990s.
Lot 714
Ca. 100-300 AD. A lovely carnelian stone intaglio engraved with a goat rearing up a palm tree, set in a gold ring of a thin hoop, slightly expanding to support the bezel. Goats have been symbols of fertility and abundance since ancient times. The Romans saw them also as symbols of luck and good fortune. They were often depicted in religious art, mosaics, jewelry, and in literature. Goats were attributed to the gods of fertility, Bacchus and Faunus. They were also a common motif in the architecture of the Roman Empire, often depicted in friezes and other decorative features. For a similar scene intaglio, see Amgueddfa Cymru - National Museum Wales, Item Number 63.228B/3.1. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 19.31mm / US: 9 3/8 / UK: S 1/2; 8.21gProvenance: Private London collection; British art market 1990s.
Lot 721
Ca. 100-300 AD. A red stone intaglio engraved with a standing figure of Minerva (Greek Athena), the goddess of wisdom and warfare. She stands robed, turned to her right, and wears a Corinthian helmet. This fine intaglio is set in a gold hollow ring of a round-section hoop, widening at the shoulders.Size: D: 15.27mm / US: 4 1/2 / UK: I 1/2; 5.43gProvenance: Private London collection; British art market 1990s.
Lot 725
Ca. 100-300 AD. A green jasper intaglio engraved with a seated and winged figure, facing left, and holding a laurel wreath in his right hand. The figure's wings are intricately detailed, with each feather delicately etched into the stone. The intaglio is set in a possibly later gold hollow ring of a round hoop with expanded shoulders that add a sense of grandeur and elegance to the piece. The figure depicted in the intaglio is likely a representation of a deity or hero from Roman mythology. The laurel wreath in his hand is a symbol of victory and triumph, suggesting that the figure is a champion or conqueror of some kind. The seated posture and wings suggest that the figure is a god or other supernatural being, imbuing the intaglio with a sense of otherworldly power and majesty.Size: D: 17.45mm / US: 7 1/4 / UK: O 1/2; 17.21gProvenance: Private London collection; British art market 1990s.
Lot 727
Ca. 100-300 AD. A gold ring composed of a hoop elegantly rounded on the exterior, while flat on the interior for comfortable wear. The shoulders of the ring gently widen to support the stunning agate stone, which features a gorgeous blend of brown and white hues. The convex shape of the stone adds depth and dimension to the ring, highlighting the delicate details of the stone's natural beauty. For a similar example, see The Metropolitan Museum of Art, Accession Number: 74.51.4264.Size: D: 18.19mm / US: 8 / UK: Q; 8.14gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 737
Ca. 100 AD (Stone), Ca. 1900 AD (Ring). An amethyst intaglio featuring the depiction of a female bust seen in a left profile. The figure is portrayed with a carefully arranged, curly hairstyle. Script to the left. Intaglio set in a Neo-Classical gold ring with a round, flat-section hoop and raised bezel.Size: D: 17.35mm / US: 7 / UK: O; 12.64gProvenance: From a Central London Gallery, previously in I.G. Collection, acquired on the US Art Market before 1980s.
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400965 item(s)/page