THE CEYLONESE SILVER-MOUNTED SHORTSWORD (KASTANE) PRESENTED TO THE RIGHT HONORABLE SIR WILLIAM HENRY GREGORY, K.C.M.G., 14TH GOVERNOR OF BRITISH CEYLON (1872-1877), FROM MRS ALWIS, CIRCA 1872-90 with curved single-edged blade formed with a long slender fuller on each face, the forte encased in engraved brass inlaid with silver scrolls and leaves (small losses), hilt of characteristic form almost entirely encased in chased silver plaques, comprising a pair of quillons, arms and knuckle-guard involving Simha and Makara heads and traditional scrollwork, the grip chased with further scrolls and the pommel formed as a Simha head with a single red stone eye (the other missing, small losses), in its wooden scabbard encased in gilt copper, decorated with traditional scrollwork at the top and bottom, fitted with a single ring for suspension, and with presentation inscription towards the top 64.7 cm; 25 ½ in blade The inscription reads: To The Right Honorable Sir W.H. Gregory, K.C.M.G., From Mrs Alwis. Sir William Henry Gregory (1816-1892) was the son of Robert Gregory of Coole Park, co. Galway, and Elizabeth O'Hara of Raheen. He was born on 13 July 1816 IN Dublin and educated at Harrow School from 1831 under Charles Thomas Longley, who considered him the cleverest boy he ever taught. Gregory was head of the school before leaving for Oxford. At Harrow he began a lifelong friendship with Anthony Trollope. Gregory matriculated at Christ Church on 6 June 1835, but was less successful there, running second for the Craven scholarship in two successive years. Deeply disappointed by this failure, and increasingly distracted by an interest in horse-racing, he left Oxford without a degree. In January 1842 he stood at a by-election as the Conservative candidate for Dublin, and was returned against the whig-Liberal Viscount Morpeth. The election cost £9000, of which the chief item was a 'gratification for 1500 freemen at £3 a head'. Gregory was soon regarded as being among the promising young men of his day in the House of Commons. He was popular with all parties and attracted the attention and regard of men as different as Peel, Disraeli, and O'Connell. He was the author of the 'Gregory clause', which disentitled the possessor of more than a quarter of an acre of land, and his family, to relief. He declared in parliament on 29 March 1847 that the smallholding class was 'no longer an object of pity'. He also procured the insertion of provisions for assisting emigration. Gregory inherited his father's Galway estates in spring 1847, and soon acquired a reputation as a humane and improving landlord. In 1850 he was appointed high sheriff of Galway, and became active in local affairs. Gregory's already considerably encumbered estates were pushed further into debt by his famine expenditure. His financial embarrassments were compounded by his passion for the turf, where he made heavy losses in the early 1850s and in 1857 he was obliged to sell more than half his estate. After this financial breakdown Gregory finally quitted the turf, but he retained his interest in racing matters to the end of his life. Gregory became best known in parliament for his promotion of state funding for the arts. In 1860 he chaired a House of Commons inquiry into the British Museum, and he subsequently had much to do with the arrangement and development of the South Kensington collections. He was an ardent supporter of the opening of public museums on Sundays and took a keen interest in popularizing the study of the arts. In 1867 he was appointed by Disraeli a trustee of the National Gallery, and he took a very strong interest in the enlargement of the national collection. Shortly before his death he presented the best of his private collection to the National Gallery. Early in 1871 Gregory was sworn of the Irish privy council, and later that year he was appointed, governor of Ceylon. In January 1872 he sailed for that colony, in which he remained for over five years. In this position Gregory exhibited high administrative qualities, and his tenure of the governorship was one of considerable success and popularity. He spent more money on transport and irrigation works than any other governor, doing much to stimulate the cultivation of coffee and tea, and to improve the harbours of the island. His efforts at social reform and attempts to end the commercial monoculture of coffee were more circumspect and of limited success. He also took a great interest in the culture and antiquities of Ceylon, and established a museum at Colombo. In 1875 he received the Prince of Wales in Colombo and was knighted. Increasingly bored by administrative routine, irritated by the criticisms made of him by the plantation interest, and having clashed with the Conservative colonial secretary over the privileges of the Anglican church in the colony, Gregory decided to resign in 1876. After a visit to Australia in January 1877, he returned to Ireland. Thenceforward Gregory took no active part in public affairs, though his interest in them remained keen. As an Irish landlord he was deeply alarmed by the land war, and he vehemently criticized Gladstone's Land Act of 1881. In 1882 he had a sharp confrontation with his tenants over rent levels, and relations were subsequently strained on the Coole estate. He was strongly opposed to the home-rule movement, and in 1881 he printed privately a 'confidential letter', attacking what he took to be the separatist aims of Parnell and his followers. From 1886 Gregory considered himself a Liberal Unionist, ready to support coercion against agrarian agitation, but looking increasingly to tenant purchase as the solution to the land question. Gregory had a strong interest in the Middle East; he visited Egypt and north Africa in 1855-6, and published an account of his travels privately in 1859. In 1882 he advocated the cause of Arabi Pasha, the Egyptian nationalist leader, in letters to The Times. Subsequently to his retirement from the Ceylon government he paid three visits to that island. He contributed to The Racing Life of Lord George Bentinck by John Kent and Francis Lawley (1892) and in 1889 he published an article on Daniel O'Connell in the Nineteenth Century. Gregory was twice married: first, on 11 January 1872, to Elizabeth, daughter of Sir William Clay and widow of James Temple Bowdoin, a lady of considerable private fortune, who died in 1873; second, on 4 March 1880, to Isabella Augusta (1852-1932), youngest daughter of Dudley Persse of Roxborough, co. Galway. She survived him with one son, William Robert Gregory, and both published Gregory's posthumous autobiography and turned Coole Park into the centre of the Irish literary renaissance. After 1890 Gregory's health gradually failed, and he died at his London home, 3 St George's Place, on 6 March 1892. A reduction, taken from the Oxford Dictionary of National Biography.
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A MODEL 1850 OFFICER'S SWORD, THE SCABBARD WITH PRESENTATION INSCRIPTION TO COLONEL ANTHONY CONK OF 139TH REGIMENT NEW YORK VOLUNTEERS BY MAJOR GENERAL H.B. DURYEA, 8TH SEPTEMBER 1862 with etched regulation blade decorated with foliage, trophies, eagle and motto, the forte inscribed 'Ames Mfg Co./Chicopee/Mass' gilt-brass hilt cast and pierced with foliage and 'U.S.' (the knuckle-guard with an early repair), wire-bound fishskin-covered grip, in brass-mounted iron scabbard, probably its original, the top mount inscribed 'Presented/to/ Col. Anthony Conk/139th Regt. N.Y.V./ by his friend /Major Genl. H. B. Duryea/Sept. 8th 1862', complete with its knot 81.5 cm; 32 1/8 in blade Provenance Tony Cowan, Collection Literature David H. Stroud, Inscribed Union Swords 1861-1865, Texas 1983, pp. 61-62, the abridged biographical information set out below. Sold together with two biographical files concerning the life and career of Colonel Anthony Conk, including official records of the Federal and Confederate armies reports. Anthony Conk was commissioned Colonel of the 139th New York Volunteers on 9th September 1862, the regiment having been formed and mustered into federal service the same month. Shortly after the New York Times ran an article in the Brooklyn News concerning the departure of '….This Regiment designated as the One Hundred and Thirty-ninth, finally left Camp Arthur, near the Navy Yard last evening, and after marching up Nassau to Bridge-street, up Myrtle-avenue to Pearl-street, and down Pearl, they were conveyed to an ocean steamer...….During the day the City Park….. [where]…… the regiment had encamped presented a busy and exciting scene. Thousands thronged the inclosure, many the wives and relatives of the soldiers, who came to bid them good-bye. The men were provided with overcoats, knapsacks, canteens and three day's rations. Meanwhile the officer's assembled at the head-quarters, corner of Nassau-street and Hudson-avenue, and presented Col. Conk with an elegant sword, sash, belt and haversack. A brief address was made by Dr. Thomas P. Norris, and an appropriate patriotic response on behalf of the recipient by S. D. Morris Esq.' Whether the present sword is that mentioned in the article or not is doubtful given that the article cited does not mention Major General Duryea. Other officer's are recorded being presented with more than one sword during the civil war. The 39th New York left for Fortress Monroe, Virginia, and was attached to Camp Hamilton until April 1863. They fought at Whittaker's Mills, Williamsburg, and Fort Magruder in April 1863. After the actions the regiment moved to York down where they served until April 1864. Colonel Conk was honourably discharged for reasons of health on 28 July 1863.
A .44 CALIBRE RIMFIRE HENRY'S PATENT LATE BRASS FRAME MODEL 1860 LEVER-ACTION RIFLE, NO. 6699, CIRCA 1864 of standard late model specifications, the barrel stamped 'HENRY'S PATENT. OCT. 16. 1860/MANUFACT'D. BY THE NEWHAVEN ARMS. CO. NEWHAVEN. CT.', ladder back-sight graduated to 800 yards, brass action engraved 'Walter Passavant, Pittsburgh, Penna.' on the right, case-hardened loading lever, figured walnut butt, brass butt-plate stamped with the serial number on the inside, two sling swivels, and some original finish throughout, together with a biographical file concerning Walter Passavant and his family 61.6 cm; 24 ¼ in barrel Literature Wiley Sword, The Historic Henry Rifle, Oliver Winchester's Famous Civil War Repeater, Rhode Island 2002, p. 73. Walter Passavant (1852-1914) was the grandson of Phillippe Louis Passavant and Frederic Wilhelmina 'Zelia' Basse. Zelia Basse was brought to America by her father, Baron Frederick William Dettmar Basse around 1807 and lived in the town her father planned and named after her, Zelienople. They lived at Passavant House, built around 1808-10, which now houses the Zelienople Historical Society. Their son, Reverend Dr William Alfred Passavant (1821-94) devoted his life to benevolent institutions including hospitals and orphanages. In addition to his missionary work he was known as a good preacher, so great was his influence on American Lutheranism that some church historians refer to the 1849-93 period as 'The Passavant Era'. He and his wife, Eliza, had eight children, his second being Walter Passavant who died in Montana and was buried in Forestvale Cemetery in 1914.
Verdi four works, still life of flowers oil on board 44cm x 33cm, town scene oil on canvas 36cm x 49cm landscape oil on board 25cm x 34cm and street scene oil on board 30cm x 20cm all signed. Provenance; Gifted by Rosemary Tonks 1928-2014, to the vendor when she moved house in 2013. Rosemary Tonks was the author of two poetry collections and six novels who famously disappeared from public view in the 1970's following personal tragedies, including the accidental death of her mother. She lived under her married name as Mrs Lightbrand in Bournemouth from 1979 when she moved in to her aunt Dorothy's flat until her death. Of the 40 lots in the collection twelve or more relate to Charles and Alma Gogin some with inscriptions to Gladys. DorothyÉs husband was the painter Myles Tonks (1890-1960)
A small wooden box containing six penknives to include a silver and mother of pearl example. a bone example etc, an A.A. ashtray given to a gentleman who was captain of The Queen Elizabeth in the 1950s, a Goss crested pot, three Royal memorabilia cups, a 1902 coronation cup, a British Empire Exhibition 1924 cup and a small crested cup, also a shell case fashioned as a lidded pot inscribed "Balkans 1917" etc.
An early 20th century six drawer mahogany dentist portable cabinet complete with dentists tools and drills, various phials, dressings, dentures and a large variety of single tooth dentures, 27 x 30cm. *Provenance, belonged to a gentleman in the early 1920s who was the local dentist for Blaenau Ffestiniog in Wales and his dental surgery was the front room of a two up two down cottage.
CHARLES BRONSON (SALVADOR); a small quantity of artwork to include an A4 coloured sketch "Everyday Above The Soil is a Bonus" signed by the artist and dated 11.9.97, also a small folded sketch "Birdman of Broadmoor" together with two letters from the artist while serving sentence at Wakefield prison together with an original stamped prison envelope. *Provenance, these letters and sketches were sent to a family member of the current vendor who had also spent time at Her Majesties pleasure with the artist.
Approximately thirty early Meccano magazines dating from 1918 to 1923. *Provenance The magazines were the property of the vendors grandfather, Mr H Holmes, who was head of the Binns Road Drawing Office. CONDITION REPORT Majority have foxing or staining commensurate with age but are intact. Vol 1 Dec -Jan 1918-1919, No:8,9,11,12,14-35 up to June 1923, April -May 1922, Oct-Nov 1922, Dec-Jan 1923, Jul-Dec 1923 excluding Oct.
After Patrick Loan; a signed limited edition coloured print of the Liverpool FC team and manager who won the treble consisting of the FA Cup, UEFA Cup and Worthington Cup in 2001, limited edition no.355/850, with certificate of authenticity, signed in pencil by the artist lower right, 45 x 60cm, framed and glazed.
AN EARLY VICTORIAN SCOTTISH SAMPLER, worked by Agnes Leckie of Shettleston, dated November 24th 1847, in coloured wools in full and half cross stitch and long stitch, with a religious verse "I love them that love me ...." above a panel in black and blue with the names "Robert Leckie, Agnes Park, Died Jan. 9th 1845, Mary Leckie, Peter Leckie, Janet Leckie, Died May 11th" and further worked with a house surrounded by birds perched in over size trees, dogs, cats and flowers, within a stylised strawberry border, 16 1/2" square, in a gilt wood filet and stained frame N.B. A sampler worked by Mary Leckie in 1848 was sold by Bonhams in 2010 and mentions an Agnes Leckie, possibly the hapless child who "sewed" the above sampler. Shettleston is in the east end of Glasgow where Leckie appears to be a local name
Paul Henry RHA RUA, 1976-1958 COTTAGES CONNEMARA 1922-23 Oil on canvas 10½ x 12 in (25 x 30cm), Provenance: Major William Kirkwood and his wife Harriet Kirkwood, who received it as a gift from the artist, and by whom passed to Elizabeth May McGeown (nee Wall); thence by descent. Exhibited: New Irish Salon, Mills' Hall, Dublin, 4-31 March, 1923; Exhibition of Pictures by Paul and Grace Henry, Magee's Gallery, Belfast, from 12 April, 1923; (?) Exhibition of Pictures of Ireland by Paul and Grace Henry, Dublin Painters' Society, Dublin, 12-27 June, 1923
Set of four UK Quad Posters Published for the Park Cinema's re release celebration Bond films From Russia with Love, Goldfinger and The Spy Who Loved Me with a unique Spend Sundays poster depicting the famous gun barrel. This set was published in low numbers and is extremely hard to find as a set of four. Country of Origin Mint
Illustrated Souvenier Brochure Today many people regard On Her Majesty's Secret Service as the connoisseur's 007 film, while George Lazenby who starred as James Bond was not up to the standard set by Sean Connery, Lazenby was an athletic male model who had huge shoes to fill and looking back now Lazenby did a superb job. At the time confidence was low with the new actor taking over - merchandise for the film was less than the previous films with only two major brochures produced for film fans. Germany produced a superb brochure due in no small way because the film was set in their neighbouring country Switzerland. Fine
Jurassic Period, 160 million years BC. A bone from the extinct Jurassic crocodile Steneosaurus sp. from the Oxford Clay, in old white card tray, found Whittlesea, near Peterborough, Cambridgeshire, UK; collected 1908 – ex. Sedgwick Museum, Cambridge, and Eton College Museum. 115 grams, 10.5cm (4 1/4"). Collected in 1908, ex. Sedgwick Museum Cambridge and Eton College Museum. From a historic ‘Victorian Museum’ collection; from the stock of Gregory, Bottley & Lloyd (1981-2014); formerly with Gregory, Bottley & Co. (1932-1981) and previously with J. R. Gregory & Co. (1898-1932); originally in the collection of the famous James Reynolds Gregory (1858-1898), with old Gregory, Bottley & Lloyd identification card: 'collected 1908 - ex. Sedgwick Museum, Cambridge, and Eton College Museum'. This item is part of a historic collection of fossils and minerals which has recently been reviewed by leading geological expert Dr. Ronald Bonewitz. James Reynolds Gregory (1832-1899) was one of the principle London mineral and fossil dealers during the second half of the 19th century. The company he founded was one of the longest surviving geological suppliers in the world, second only to Kranz of Germany. In 1858 James Gregory established his business selling polished stones, minerals and fossils from premises in King William Street. A few years later he moved to premises in Golden Square, Covent Garden. He won prize medals at exhibitions in Paris (1867), Sydney (1879) and London (1862 and 1883). He also formed a superb collection of meteorites, which was later sold by his sons to the Natural History Museum, London. On the death of his father in 1899 Albert Gregory took over the business, dealing from premises in Kensington, then 30 Old Church Street in Chelsea. He eventually sold the company in 1932 to Percy Bottley, and after his death in 1982 the premises were sold. The company was then acquired by Brian Lloyd who had started the Natural History sales at Sothebys before dealing from his own premises in Pall Mall. Gregory, Bottley & Lloyd, as it became known, traded from Ricket Street and later Seagrave Road in Fulham. In 2008 the business and all of the stock and Victorian cabinets were moved out of London to Walmer in Kent. On the eventual retirement of Brian and Mary Lloyd in 2014, with none of their family interested in taking over the business, the stock was sold and is now dispersed. Very fine condition, a good size for display or for use as a paper weight.
160 million years BP. A bone from the extinct Jurassic crocodile Steneosaurus sp. from the Oxford Clay, in old white card tray with Gregory, Bottley & Lloyd identification card: ‘BONE OF EXTINCT CROCODILE, Steneosarus sp., Oxford Clay, Jurassic Age, (Approx. 160 million years old), Whittlesea, near Peterborough, Cambridgeshire, (collected 1908 – ex. Sedgwick Museum, Cambridge, and Eton College Museum)’. 110 grams, 11.5cm (4 1/2"). Collected in 1908, ex. Sedgwick Museum Cambridge and Eton College Museum, noted on GBL label. From a historic ‘Victorian Museum’ collection; from the stock of Gregory, Bottley & Lloyd (1981-2014); formerly with Gregory, Bottley & Co. (1932-1981) and previously with J. R. Gregory & Co. (1898-1932); originally in the collection of the famous 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. Steneosaurus sp. is an extinct genus of early crocodiles found as fossils in Jurassic rocks (208 to 144 million years ago) of South America, Europe, and North Africa. James Reynolds Gregory (1832-1899) was one of the principal London mineral and fossil dealers during the second half of the 19th century. The company he founded was one of the longest surviving geological suppliers in the world, second only to Kranz of Germany. In 1858 James Gregory established his business selling polished stones, minerals and fossils from premises in King William Street. A few years later he moved to premises in Golden Square, Soho. He won prize medals at exhibitions in Paris (1867), Sydney (1879) and London (1862 and 1883). He also formed a superb collection of meteorites, which was later sold by his sons to the Natural History Museum, London. On the death of his father in 1899 Albert Gregory took over the business, dealing from premises in Kensington, then 30 Old Church Street in Chelsea. He eventually sold the company in 1932 to Percy Bottley, and after his death in 1982 the premises were sold. The company was then acquired by Brian Lloyd who had started the Natural History sales at Sotheby's before dealing from his own premises in Pall Mall. Gregory, Bottley & Lloyd, as it became known, traded from Ricket Street and later Seagrave Road in Fulham. In 2008 the business and all of the stock and Victorian cabinets were moved out of London to Walmer in Kent. On the eventual retirement of Brian and Mary Lloyd in 2014, with none of their family interested in taking over the business, the stock was sold and is now dispersed. Fine condition, repaired.
. A crystallised specimen of apophyllite (a zeolite) with well-formed crystals in a superb arrangement, in old white card tray, from the Gregory, Bottley, and Lloyd collection. Cf. Bonewitz, Dr. Ronald Louis, Smithsonian Rock and Gem, (2008), p.267. 657 grams total, 13.5cm (tray: 15.5cm) (5 - 6"). From a historic ‘Victorian Museum’ collection; from the stock of Gregory, Bottley & Lloyd (1981-2014); formerly with Gregory, Bottley & Co. (1932-1981) and previously with J. R. Gregory & Co. (1898-1932); originally in the collection of the famous 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. James Reynolds Gregory (1832-1899) was one of the principal London mineral and fossil dealers during the second half of the 19th century. The company he founded was one of the longest surviving geological suppliers in the world, second only to Kranz of Germany. In 1858 James Gregory established his business selling polished stones, minerals and fossils from premises in King William Street. A few years later he moved to premises in Golden Square, Soho. He won prize medals at exhibitions in Paris (1867), Sydney (1879) and London (1862 and 1883). He also formed a superb collection of meteorites, which was later sold by his sons to the Natural History Museum, London. On the death of his father in 1899 Albert Gregory took over the business, dealing from premises in Kensington, then 30 Old Church Street in Chelsea. He eventually sold the company in 1932 to Percy Bottley, and after his death in 1982 the premises were sold. The company was then acquired by Brian Lloyd who had started the Natural History sales at Sotheby's before dealing from his own premises in Pall Mall. Gregory, Bottley & Lloyd, as it became known, traded from Ricket Street and later Seagrave Road in Fulham. In 2008 the business and all of the stock and Victorian cabinets were moved out of London to Walmer in Kent. On the eventual retirement of Brian and Mary Lloyd in 2014, with none of their family interested in taking over the business, the stock was sold and is now dispersed. Extremely fine condition, a good size for display. Beautiful specimen.
14th-10th century BC. A carved bitumen cylinder seal with frieze of figures with wine-jars, cups and strainers; 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 Bitumen 35 x 11 mm. The design, which is put between upper and lower rulings, shows a seated figure in garment to mid-calf level holding up a vessel with both hands. In front of him a standing figure is holding up a large fan, and there is a second vessel of the same type between the two figures. Behind the fan-bearer is a second standing figure attending to a stand with a wine-strainer on top and a vessel to collect the liquid underneath. Space above the two standing figures, who are smaller than the seated figure, is filled with a walking winged quadruped and a crouching monkey. This is a seal from south-west Iran, c.1400-1000 B.C. It is a little worn, but the design was deeply cut and so stands out very clearly. 5.22 grams, 35mm (1 1/2"). From an important North London collection formed before 1980. Very fine condition.
1924-1896 BC. A terracotta pillow-shaped tag with cuneiform text impressed over the rolled impressions of the scribe's cylinder seal to both broad faces and all four edges; accompanied by a copy catalogue entry and a typed and signed scholarly note issued by W.G. Lambert, Professor of Assyriology at the University of Birmingham, which states: Clay tag 107 x 54 mm. with 36 lines of Sumerian Sumerian [sic] cuneiform on obverse and reverse, the whole surface of the tablet being covered with rollings of the scribe's cylinder seal to show the seal inscription, which reads Mat-ili, sone of Baba. The tablet is dated but the date is incomplete, though it can be restored from other tablets to read: Year: after [a great emblem was made for] Ishkur. This is a year-name of Ur-Ninurta, who ruled in the town of Isin c.1924-1896 B.C. But we have no complete list of year-names of this king so this one cannot be placed within the reign. The text is a list of domestic animals provided as offerings to named gods, e.g.: 1 sheep, 2 mature billy goats: Nin?ursag / 1 mature billy goat: Utu / 1 mature billy goay [sic]: Amurru / 1 sheep, 2 mature billy goats: Sin / 1 mature billy goat: Belat-biri. The tag has been assembled from pieces, but most if [sic] preserved. only very little at top and bottom is lost. With conservation almost the whole would be clear and intelligible. 171 grams, 11cm (4 1/4"). From an old London, UK, collection. Fair condition, repaired.
2144 - 2124 BC. A terracotta temple cone with domed upper surface, vertical bands of cuneiform text to the sides; attributed to Gudea of Lagash. 235 grams, 12.5cm (5"). From a UK private collection, 1990s; ex Dorotheum Auction, Vienna, Austria. When a public building, especially a temple, was constructed in ancient Mesopotamia, there were usually rituals of consecration, purification, dedication and spiritual safety. Private houses could also receive rites to protect them from demons and disease. Rituals often included the deposition of various items that were either buried in the foundations or installed in walls during the buildings construction. The shape of the cones is reminiscent of pegs and they effectively fixed the protective power to the building. Gudea was a ruler of the state of Lagash in Southern Mesopotamia who ruled 2144 - 2124 BC. He probably did not come from the city, but had married Ninalla, daughter of the ruler Urbaba (2164 - 2144 BC) of Lagash, thus gaining entrance to the royal house of Lagash. He was succeeded by his son Ur-Ningirsu. Fine condition.
1125-1103 BC. A bronze axehead formed as a tubular socket with four moulded ribs projecting to the rear to form four conical spikes, a tongue-shaped flat blade slightly pressed in the upper and lower border with incised cuneiform inscription; accompanied by an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Ancient Inscribed Bronze Axehead naming a King of Babylon. Maximum height: 5 cm, Maximum length: 14.8 cm. the centre of this axehead is round, with hole for the shaft. On the opposite side from the blade are four spikes, joined for greater strength about half-way between the points and the shaft-hole. Each spike continues as a ridge of metal around the shaft-hole, the lower forming a circle, the upper three continuing on the opposite side from the spikes onto the blade. This has an upper edge continuing the angle of the spikes, but the lower edge goes downwards to the cutting edge, which is thus deeper than the opposite end of the blade. Originally the blade was deeper that it is now: the upper and lower edges have been hammered to give the blade more strength by thickening the edges. This happened since manufacture because the inscription has been in part obliterated by this hammering. The inscription is in Babylonian cuneiform and reads: te-le-'-?ama[r-utu] [m]ut-nen-na-a e-te?-[ra] [m]uš-te-'-ú aš-ra-ti-[ka] [..........] x du-un-nin i-di-ia-m[a] [lu]-šam-qí-ta ge-ri-ia [ša] ?nabû-ku-dúr-ri-usur lugal šár: You are able, Marduk, to save the pious who seeks after your shrines, [........].Strengthen my arms that I may fell my foes. [Property of] Nebuchadnezzar, king of the world. This is a prayer to the Babylonian god Marduk, with ownership ascription. The Nebuchadnezzar named is Nebuchadnezzar I, king of Babylon 1125-1103 B.C., not the Nebuchadnezzar II known from the Bible. The inscription begins on one side of the blade and is completed on the other side. Another axehead of the same type formerly in the Foroughi Collection has the same inscription, though complete, see G.Dossin, in Iranica Antiquea II (1962) pl. xxiv. Both these axeheads were apparently found in Iran, but the inscription is purely Babylonian. How such Babylonian inscriptions came to be found in Iran is a debated issue. It may be that such texts were copied onto bronze objects made in Iran, but in any case their date is close to that of kings named. This is then an important axehead naming a major king of Babylon. A later note of prof. Lamber completes the translation: te-le-'-?ama[r-utu] [m]ut-nen-na-a e-te?-[ra] [m]uš-te-'-ú aš-ra-ti-[ka] [eli n] a-ki-ri šu-zu-uz-zu [i-zi-q]a ša-ra-ka a-si-' n[a-ak]-ri-ia du-un-nin kak-ki-ia-ma lu-ú-di-ša ge-ri-[ia] ša ?ná-[ku]-dúr-ri-ÚRU lugal šár: You are able, O Marduk,to make prevail over enemies the devout noble who ever seeks your sanctuaries. Your spirit has [blown], destroy (?) my enemies, strengthen my arms that I may tresh [my] foes. Property of Nebuchadnezzar, king of the world. This is Nebuchadnezzar I, king of Babylon 1125-1103 B.C. Another copy of this inscription on the same type of axehead exists in the former Foroughi Collection and was published by G.Dossin in Iranica Antiqua II (1962) p.158 and pl. xxiv. The inscription there is a little better preserved, and one can note one difference: this axehead under study writes du-un-nin, while the Foroughi example writes du-un-ni-in, proving that the one was not copied mechanically from the other. Some one involved understood the writing. This axehead comes from Luristan and probably dates from a little later than the reign of Nebuchadnezzar I, the inscription having been copied in Iran from an object with this inscription made in Babylon, but circulating in Iran. Generally this object is in good state of preservation, though there is some corrosion of the inscription, and the blade has been sharpened recently. 243 grams, 14.8cm (5 3/4"). From a London, UK, collection; acquired 1970s. Nebuchadnezzar I., r. c. 1125-1104 BC, was the fourth king of the Second Dynasty of Isin and Fourth Dynasty of Babylon. He ruled for 22 years according to the Babylonian King List C, and was the most prominent monarch of this dynasty. He is best known for his victory over Elam and the recovery of the cultic idol of Marduk. Fine condition. Extremely rare.
3rd-4th century AD. A broad flat-section silver hoop with flared shoulders, discoid plaque with inscription '??CI?? / ?????' for Basile[os] (Emperor) Theodo[sius]. 5.36 grams, 23mm overall, 21 x 17.88mm internal diameter (approximate size British O 1/2, USA 7 1/2, Europe 16.0, Japan 16) (1"). Property of a London collector, acquired before 1980. Theodosius I (Flavius Theodosius Augustus) or Theodosius the Great, was Roman Emperor from 379 to 395 AD. He was the last to rule over both the eastern and the western zones of the Roman Empire. He orchestrated an abortive war against the Goths who established a kingdom south of the Danube within the empire's borders. He also fought two futile civil wars, in which the defeat of the usurpers Magnus Maximus and Eugenius was won at great cost to the Empire. During his reign, orthodox Nicene Christianity became the official religion of the Empire. Fine condition.
2nd-4th century AD. A rectangular carved schist frieze depicting Buddha wrapped in the coils of the Serpent King, Mucilinda, beneath a canopy of fronds; attendant to the left facing Buddha and another to the right facing the viewer; panel to the right edge with column and fronds; mounted on a custom-made stand. 70 kg, 60 x 46cm including stand (23 1/2 x 18"). From an important London collection, acquired in the 1970s. The panels depicts the story of the Serpent King, Mucilinda, who protects the meditating Buddha in the coils of his body for seven days against a storm, after Buddha's Enlightenment. This is a rare subject in Gandharan art. Fine condition. Rare subject.
10th-12th century AD. A relief panel carving of a Tantric goddess seated on a throne with a seven headed cobra rearing over her head; the goddess is dressed in a breast band and loin cloth with strings of necklaces and armlets and bracelets, with a tiara crown on her head; she has six arms, those to the left holding a bow, a lotus flower and the lower one a conch shell; those on the right a lotus flower, remains of a trident in one hand, and the lower in Abhya mudra meaning fear not, and with a rosary hanging down; beneath her feet is the head of a buffalo; to the side of her feet is the figure of a bird, possibly a goose. Desai, V and Mason, D. Gods, Guardians and Lovers: Temple Sculptures from North India, 700 - 1200 AD, New York, 1993 84 kg, 76cm (30"). Acquired on the London art market prior to 1980. The figure is a Tantric representation of the goddess Durga merging the iconography of two other goddess, Saraswati, and Lakshmi. This merging of the three goddesses into one form indicates that the goddess is Maha Devi, the Great Goddess. In the Shakta cult of Hinduism, which places the female aspect of god as the most important, the three forms of the goddess correspond to her role as the supreme deity who is responsible for the creation of the cosmos in her form of Saraswati, the preserver in the form of Lakshmi, and the destroyer of the universe in her form of Durga or Kali. The iconography on this statue shows the symbols associated with each goddess: the rosary and goose are associated with Saraswati, the lotus flower and conch shell with Lakshmi, and the trident and bow with Durga. The bull's head relates to the story of Durga as the destroyer of the demon Mahishasura, who took the form of a buffalo to conquer the gods. The panel is typical of north Indian temple sculpture which reached its peak from the 8th to the 13th centuries with the building of magnificent temples and a outpouring of literary, cultural and artistic achievement. Very fine condition.
19th-20th century AD. A gilt-bronze figure of Amitabha Buddha sitting cross-legged on a lotus flower base with hands folded in the lap, draped with swags of beads and wearing an elaborate headdress. 20.5 kg, 53cm (20 3/4"). Acquired on the London art market prior to 1980. Amitabha is the Buddha of infinite life and the one who grants long life, and one of the most popular Buddhist deities in Tibet, China and Japan. He is represented seated in padma asana, or the lotus posture, with both hands in the meditation gesture holding a vessel of the elixir of immortality. The cult of Amitabha is believed to have had its origins in north-west India in the areas influenced by Zoroastrian concepts linking light and life. Amitabha is believed to reside in Sukhavati, the Pure Land of Highest Happiness situated in the west. Good condition; lacking topknot to head.
15th-16th century AD. A lozengiform bronze harness mount with red enamelled motif of a grasshopper; stud to the reverse with rove intact. 3.15 grams, 22mm (3/4"). Found Suffolk, UK. The motif of the grasshopper was used by Sir Thomas Gresham (died 1579), founder of the Royal Exchange, London in 1565. It was adopted by Gresham College, London, which he also founded, and is used as a weathervane on the Royal Exchange in the City of London. The sign also appears in London's Lombard Street. The mount is lozengiform and must therefore have been used by a female, perhaps Sir Thomas's daughter Anne who married Sir Nathaniel Bacon (died 1622), a politician and half-brother to Francis Bacon, 1st Viscount St Alban. [No Reserve] Very fine condition.
6th-10th century AD. A bronze flat-section expanding-arm cross pendant with integral loop; incised cross flory to the centre with a band of herringbone ornament to the end of each arm. 6.15 grams, 39mm (1 1/2"). Property of an Essex gentleman, by descent from the vendor's father, who formed his collection in the 1970s. Very fine condition.
6th-5th century BC. A bronze helmet formed from two curved segments each with a flared rim, short nasal, flange crest running for-and-aft with rivetted seam to the edge; raised panels to the upper section of the bowl, repoussé ridge forming curved brows; to each side, a recess for the ear and hinged cheekplate, D-shaped with a scooped forward edge, lines of repoussé pellets to the border and upper zone, pierced for attachment of securing straps. See discussion in Connolly, P. Greece and Rome at War, London, 1988, p.60-63. 660 grams, 30cm (11 3/4"). From an old Oriental collection. The Chalcidian helmet was popular in Greece in the fifth and fourth centuries BC, as well as the southern parts of Greece that were colonised by the Greeks. The helmet appears to have been a development of the Corinthian helmet, but with improvements in design which gave the wearer better hearing and vision, resulting in a lighter and less bulky helmet. The helmet would commonly have a hole pierced on each cheek piece or elsewhere in order to accept an inner lining which was made of leather; adornments, such as combs of horsehair, were usually placed on the top of the helmet. By the time of Alexander the Great the helmet was still worn by soldiers, most notably the hoplites, the heavy infantry men who carried long spears; the helmet would later go on to develop into the Attic helmet which is iconic of Classical soldiers. Fine condition, restored.
1st century BC-1st century AD. A marble portrait head of a noble Julio-Claudian boy, possibly the prince Gaius Caesar, with short hair falling in delicately incised waves, deep-set eyes, small, full lips and a distinctive, narrow chin; supplied with a custom-made stand. The short, wavy hairstyle, deep-set eyes and narrow chin bear similarities with a Julio-Claudian marble portrait head held in the Metropolitan Museum of Art, New York, inv. no. 2011.376, that is commonly identified as Gaius Caesar. Close parallels, in terms of facial shape and features, can also be made with the portrait of Gaius held by the University of Innsbruck, inv.no. I/507; see F. Krinzinger, Das Bildnis des jugendlichen Augustus von Velia, AA 1976, 91-101 for parallels. 28 cm including stand (11"). Property of a gentleman; previously from a German collection formed in the early 1980s. The child of Julia Augusta and Marcus Agrippa, Gaius was adopted by his maternal grandfather Augustus, who designated him (alongside Gaius' younger brother Lucius) as his heirs. At the age of 14, Gaius was granted the honorific title of 'Princeps Iuventutis' (Prince of Youth), and at 20 became a consul. Embarking on a military career, Gaius died whilst on campaign in Lycia at the age of 24, leaving no heirs. According to Tacitus (Annals, 1.3), Augustus' wife Livia was suspected of foul play in his death, seeking as she did to install her son Tiberius as Augustus' successor. Fine condition, small loss to nose.
3rd-5th century AD. A carinated gold hoop with shoulders formed as opposed dolphins supporting a discoid plaque in their mouths; incised eye detail to each side, notched crests, zigags to the mouths, punched point borders; the bezel dished to the upper face with inset blue jasper plaque, intaglio anchor motif with ring above the stock and another below the tines. 11 grams, 24mm overall, 18.36mm internal diameter (approximate size British Q, USA 8, Europe 17.59, Japan 17) (1"). From the private collection of a Mayfair, London, UK, gentleman; acquired in the early 1980s. The anchor is an ancient Christian symbol and is seen in a number of contexts such as intaglios as well as painted on the walls of the catacombs. The anchor, because of the great importance in navigation, was regarded in ancient times as a symbol of safety. The Christians, therefore, in adopting the anchor as a symbol of hope in future existence, merely gave a new signification to a familiar emblem; the shape of the anchor is also reminiscent of a cross. The dolphin was also a pagan symbol that was adopted by Christianity. It was seen as a guide and guardian of the dead who carried the soul to the Land of the Blessed. Extremely fine condition. Supplied with a positive X-Ray Fluorescence metal analysis certificate.
8-41 AD. Obv: ear of corn with central stalk with CA to left and MV to right; small x below CA and small pellet above M. Rev: horse right with ladder-like mane, pellets and branch above and CVN below. S. 281; BMC 1772-1783; ABC 2774. 5.42 grams. The Brodie Hall, Kent, UK collection; acquired Chris Rudd (with envelope and ticket). Chris Rudd notes: 'Rainer Kretz says: A nice example of a Linear-type stater, quite different to the one offered in Chris Rudd 110, no 46. This variant is distinguished by having a small x below the CA on the obverse and a tiny pellet above the letter M, both probably representing some kind of privy mark put there by the die cutter/mint master to identify the output from this particular die. The ubiquitous palm branch above the horse, which forms a feature of almost all of the 'corn ear' series appears to have been directly inherited from Dubnovellaunos' Trinovantian stater (VA 1650/1655) who had in turn borrowed it from one of Addedomaros' staters (VA 1635). Thirty-five years ago, Allen in his important paper 'Cunobelins' Gold' (Britannia, 6, 1-19) placed the Linear type at the start of the famous 'corn ear' series of staters, a position that has remained unchallenged to this day. The obverse was struck from Allen's die G while the reverse die was unknown at the time he wrote Cunobelin's Gold. Near extremely fine; slightly oval flan.
10-41 AD. Obv: ear of corn with central stalk with C.A to left and MV right. Rev: 'classic' style horse rearing right with branch above and CVNO on ground line below. S. 288; BMC 1829-1831; ABC 2798 variant (pellet between C.A and no ornament at base of corn stalk). 5.30 grams. The Brodie Hall, Kent, UK collection; acquired Chris Rudd (with envelope and ticket). Chris Rudd notes: 'Rainer Kretz says This particular variant of a 'classic' Cunobelinus stater has a small pellet between the letters C and A, probably some form of privy-mark. The obverse shows the usual corn ear, which has here been stripped of all non-essentials like scrolls and now represents a visually striking regal emblem. Of all the seventeen reverse dies listed in Derek Allen's 'Cunobelin's Gold' published in 1975, this is one of the finest in artistic terms, falling not far short of the slightly later and much sought after left-facing version (VA 2029). It portrays a beautifully proportioned and well-muscled horse rearing up on its hind legs and is clearly the work of a master engraver who may well have been classically trained. When Derek Allen examined Cunobelin's Gold in 1975 he recorded just four coins from the die combination Gh, a number that may have now risen to around twenty. A coin from the same dies was offered in C. Rudd list 88, no. 54. Good very fine; full inscriptions, muscular horse, hairline striking crack at edge. Scarce.
6th century BC. Group comprising: cast 'coins' or currency pieces in the form of a bifacial dolphin. Sear 1684. 29.56 grams total. This unique type of coinage was cast in Olbia, in the Black Sea area of Thrace from the 5th to 3rd century BC; there are many varieties; the casting method employed was adopted by the Gallic Celts who originally came from this area; the dolphins were generally cast in a tree form connected by the tail, although some examples seem to have been cast individually. [14] Very fine.
6th century BC. Group comprising: cast 'coins' or currency pieces in the form of a bifacial dolphin. Sear 1684. 24.84 grams total. This unique type of coinage was cast in Olbia, in the Black Sea area of Thrace from the 5th to 3rd century BC; there are many varieties. The casting method employed was adopted by the Gallic Celts who originally came from this area; the dolphins were generally cast in a tree form connected by the tail, although some examples seem to have been cast individually. [14] Very fine.
18th century AD or later. Obv: L VERVS AVG ARM PARTH MAX TR P VIIII legend with laureate, draped and cuirassed bust right. Rev: TR P VII IMP IIII COS III P P legend beneath Jupiter seated right upon the seven hills of Rome, receiving the emperor, who holds Victory and is crowned by Virtus. Copying Lawrence, Cavino 60; Montigny 55; Cohen, III., p. 16, 97. (The ancient medallion does not have PP on the reverse) 36.01 grams. Good very fine.
Circa 6th century AD. Imitating the emperor and Jupiter types of the period 253-282 AD. Obv: garbled legend with radiate, draped and cuirassed bust right. Rev: garbled legend with emperor, radiate, standing right, receiving standard? from a figure who appears to be a mixture of Jupiter (naked) or Fides (with standard) or Sol (holding globe), standing left; cross between them in lower centre and mintmark VX cross CI. Similar reverse type to Probus, RIC 390 with IOVI CONSERVAT legend and mintmark VXXT (bronze); no aureus known from any emperor with this reverse type. 3.8 grams. Fine condition.
1st-3rd century AD. A bronze statuette of Telesphorus dressed in a long hooded cape covering everything apart face, hands slightly stretched forwards; incised cross-like decoration to the front. Cf. Durham, E. Metal Figurines in Roman Britain: Volume 2, University of Reading, 2010, plate 56-57. 30.35 grams, 42mm (1 1/2"). Property of a European collector; acquired Europe, 1980s-1990s. Telesphorus was a son of Asclepius, god associated with healing and medicine, whose name means the accomplisher or bringer of completion. He symbolised recovery from illness and was depicted as a dwarf whose head was always covered with a cowl hood or cap, frequently accompanied by his sister Hygieia. Telesphorus is assumed to have been a Celtic god in origin, who was taken to Anatolia by the Galatians in the 3rd century BC, where he would have become associated with the Asclepius and spread again to the West due to the rise of the Roman Empire, in particular during the 2nd century AD. The statue of Telesphorus excavated in Moulézan bears very similar incised decoration and dress style; however other statuettes of hooded figures, in general called genius cucullati, were found in regions across the Romano-Celtic region varying in style and size. Very fine condition.
18th century AD. Obv: profile bust with rose below and WILKES & LIBERTY legend. Rev: crown over large 45 within foliate border. 6.96 grams. John Wilkes (1725-1797) was a radical politician and involved in the publication of 'The North Briton' (published 1762-1771) and notorious for its 45th issue (23 April 1763) which resulted in many prosecutions, including that of Wilkes who served twenty-two months imprisonment. His name, associated with the number 45 and the call 'Wilkes and Liberty' became a clarion for freedom of speech and he was much respected during the Amercian War of Independence period, so much so that that famous Liberty Bowl by Paul Revere (now in the Museum of Fine Arts, Boston), presented to the Massachusetts House of Representatives in 1768 has engraved upon it 'No 45 Wilkes & Liberty', together with the names of those who funded it. [No Reserve] Very fine. Rare.
224-242 AD. Obv: The Mazda worshipper, the divine Ardashir, the king of kings of Iran who is descended from the Gods legend in Pahlavi around bearded and crowned bust of king right. Rev: Fire of Ardashir in Pahlavi, fire altar with ribbons, no attendants. Sellwood 10, Paruck 37, Gobl III-2; Alram 673; Mitchiner 789. 4.36 grams. About extremely fine.
2nd-4th century AD. A silver D-section hoop and discoid plaque with ropework border enclosing the amuletic inscription 'TOT', an abbreviation for the name of the Celtic god Toutatis. Disclaimed under the Treasure Act, reference number 2009 T742. With a copy of an article by Brett Hammond 'Keep A Sharp Eye Out For Toutatis' which appeared in Treasure Hunting Magazine in January 2009, page 44, and a copy of the Wikipedia article on the Celtic God Toutatis where this ring is used as the 'plate example'. 6.54 grams, 21.2mm overall, 16.38 x 13.99mm internal diameter (approximate size British I, USA 4 1/4, Europe 15, Japan 7) (3/4"). Possibly found Lincolnshire, UK. A number of rings have been found in eastern Roman Britain inscribed with the word TOT. It is thought that they refer to the Celtic deity Toutatis, later associated by the Romans with Mars and Mercury. The rings have been found mainly in the area corresponding to the native British tribe of the Corieltauvi who may have worshipped Toutatis as their primary tribal deity. The likelihood of the presence of his cult is strengthened by several inscriptions found in Britain mentioning this deity. However, his origin may be sought in the religion of the Continental Celtae, as the Roman writer Lucan in the 1st century AD mentioned the worship of 'Teutatis' together with two other deities, Esus and Taranis. Very fine condition.
1st century AD. A discoid garnet plaque with chamfered edge, intaglio profile portrait bust of Germanicus Julius Caesar. 0.49 grams, 12mm (1/2"). Property of a Middlesex gentleman; acquired in the 1980s. Germanicus Julius Caesar (24 May 15 BC - 10 October AD 19) is better known to the modern world as 'Germanicus', having abandoned his birth-name of Nero Claudius Drusus. He was a famed military commander and member of the Julio-Claudian dynasty, born in Rome, brother to the later Emperor Claudius who set in motion the invasion of Britain. The agnomen 'Germanicus' was bestowed on him posthumously in recognition of a military campaign against the tribes across the Rhine. Rome's disastrous venture beyond the Rhineland and the resulting clades Variana in 9 AD, in which three legions and their supporting troops were wiped out, was considered a great stain on the reputation of the Roman military, which Germanicus's incursions were supposed to avenge. His early death, aged just 34, in Egypt enhanced his reputation as a great leader whose death came too early. There was much speculation that his death was ordered by Emperor Tiberius who may have seen the soldier's popularity as a threat. Extremely fine condition.
9th century AD. A rectangular book or casket mount with chamfered outer edges, scooped inner edges and trefoil between; incised niello-filled circle with facing figure of St. John pointing to an open book, eagle to his right shoulder, spandrels framing his head and 'IO/HA/NNIS' (John) above the book; spandrel above the circle, addorsed beast-heads flanking each with open mouth, scaphoid ear, hole for the eye (to accept a domed rivet-head), punched-dot texturing; the trefoil with holes for eyes in the two flanking lobes and punched lozenges for the nostrils; small gilt section to the reverse. Cf. facing figures on the Fuller Brooch, published in Webster, L. & Backhouse, J. The Making of England. Anglo-Saxon Art and Culture AD 600-900, London, 1991, item 257. 5.30 grams, 39mm (1 1/2"). Property of a London collector; previously in the Don Lee collection before 1990. The first copies of the Bible to enter Britain during the Anglo Saxon period would have come with missionaries from the Continent and most notably Rome. The first recorded conversions happened in 597 AD with the arrival of Augustine. Prior to his arrival Æthelberht of Kent married a princess, Bertha, daughter of Charibert, one of the Merovingian kings of the Franks, who brought with her a chaplain. Bertha had restored a church from Roman times to the east of Canterbury and dedicated it to Saint Martin of Tours, the patronal saint for the Merovingian royal family. Æthelberht himself, though a pagan, allowed his wife to worship God her own way. Probably under influence of his wife, Æthelberht asked Pope Gregory I to send missionaries, and in 596 the Pope dispatched Augustine, together with a party of monks. Thereafter Christianity spread throughout England under royal patronage. Churches became prominent landmarks, along with monasteries, and these religious institutions required the necessary objects for the carrying out of Christian ritual. The most important of these was the Bible itself which was laboriously copied and decorated at a number of important centres, such as Lindisfarne, and then disseminated to the monasteries, churches and cathedrals. Not only were these lavishly decorated within, but the covers were also decorated in silver, silver-gilt and gold plates, depicting Christ and the four Evangelists in typical Anglo Saxon style. Fine condition.
5th-6th century AD. A boar's tusk amulet mounted in a bronze frame comprising a broad circumferential strip and flat-section suspension strap, attached by a single rivet. Published in Hammond, B., British Artefacts, volume I - Early Anglo-Saxon, also see animal teeth mounted as pendants in Chambers, R.A. Oxonensia, vol.40, 1975, p.192. For a discussion on the importance of boar tusks in the Anglo Saxon period see, Meaney, A. Anglo Saxon Amulets and Curing Stones, British Archaeological Reports 96, 1981, p. 132 - 134. 8.66 grams, 47mm (1 3/4"). From an old English collection; acquired in the 1990s. The boar was an important symbol to the Anglo-Saxon warrior class, who used its image on their helmets (Benty Grange, Wollaston, Derbyshire) and other war-gear; the Old English word eofor ‘boar’ was used figuratively for ‘persistent and determined lone warrior’. Boar tusks have been found in a dozen Anglo Saxon graves and they appear to have some sort of amuletic purpose. At Purwell Farm in Oxfordshire, a perforated boar tusk was found in the grave of a woman with a group of amulets that appear to have been kept together in a bag. The boar was extremely important in Germanic and Celtic religion and Tacitus tells us that the Aestii people, who lived in what is today modern day Lithuania, wore masks of boars as emblems of the Mother Goddess and which protected them in battle. The boar is also sacred to the Viking deities Frey and Freya. [No Reserve] Fine condition. Extremely rare.
Neolithic, 4th-2nd millennium BC. A bifacial knife in dark grey-brown flint, the cutting edge straight and with convex back; possibly contemporaneously formed by adapting a larger, symmetric sickle-knife, the straight edge and rounded tip with extensive usage polish. Cf. Evans, John, The Ancient Stone Implements, Weapons and Ornaments of Great Britain, p. 355, fig. 267a for a full sickle-knife of similar form. 26 grams, 65mm (2 1/2"). Property of a gentleman, by descent from the vendor's father, who formed his collection in the 1990s; found Kent, UK, in 1991. [No Reserve] Very fine condition. Interesting and rare form.
2nd-3rd century AD. A D-shaped marble stele with scene in high relief of a horseman on a galloping horse, short cloak over his left shoulder, a standing female to his right side. 1.56 kg, 18.3cm (7 1/4"). Property of a Surrey collector; acquired in the early 1970s. The so-called Danubain Riders were associated with a mystery religion of the Getae and the Dacians who lived in ancient Dacia. It appears that the original form of the cult iconography was a single rider facing a goddess. These initial scenes of reliefs from marble and lead were influenced by the Thracian Rider myth and later in time became more complicate, possibly depicting a ritual or mythological scene. Fine condition.
Roman Period, 30 BC-323 AD. A terracotta plaque depicting Harpocrates as a chubby child, sitting with genitals exposed, hands raised, sidelock of hair. 179 grams, 10.5cm (4 1/4"). Property of a London gentleman; acquired by his father in the 1970s; thence by descent. From the New Kingdom period onwards, the braided lock of hair became a special symbol of youthful princes and princesses, who were shown naked with their heads shaved except for the sidelock. It is most commonly seen on images of the youthful god Harpocrates, the son of Isis and Osiris. Fine condition.
2nd century BC-1st century AD. A group of miniature silver votive bird models each with saddle-shaped body, hatched bands, bulbous head, two with scooped beak and two with pointed beak; all concave to the underside. See Green, M Animals in Celtic Myth and Life, 1992, London. 11 grams total, 18-27mm (3/4 - 1"). Property of a Suffolk gentleman. The duck appears in a number of contexts in Celtic art, mainly on vessels associated with feasting. Ducks are also sacred to the Gallic goddess, Sequana who had a major healing shrine based at the source of the river Seine in Burgundy, France. A bronze figure was found at the temple depicting Sequana standing in a boat which had a duck head at the prow. The duck appears to be an attribute of a celestial deity as well. We know that in the Celtic period the sun and sky gods were complicated figures who were linked not only with the heavens but also with water and the underworld. It is possible that the duck was perceived as a suitable solar emblem because it was both able to fly and swim, thus bringing together the elements of sky and water. To the pagan Celts, the sun and water were both related to healing and so it is possible that small votive images such as these were offered at shrines in the hope of a cure. [4, No Reserve] Fine condition.
Late Period, 664-332 BC. A large blue-glazed composition amulet of seated goddess Mut wearing the pschent crown, nursing an infant; attachment loop to the rear. Cf. Andrews, C. Amulets of Ancient Egypt, London, 1994, fig.18c. 7.57 grams, 49mm (2"). From the Foxwell family collection; Mr H G and Miss E Foxwell purchased their collection from the late 1890s until the early 1920s, acquiring from the Forman collection (sold by Sotheby's in 1900) and the McGregor Collection (sold by Sotheby's in 1922) and the Clements collection in 1923 and thence by descent. Mut was a vulture-form fertility and mother goddess worshipped in Thebes as the consort of Amen-Re. As an amulet she is depicted completely human, walking or sitting and wearing the Double Crown in her role of wife to the king of gods. However, rather confusingly, she is also sometimes shown like Isis suckling a male child (presumably Khonsu) who sits on her lap and is propped up by her left hand. All three types occur early in the Third Intermediate Period, often made of finely modelled glazed composition in the round, and bears inscriptions naming the goddess as Mut, Lady of Isheru, her precinct at Karnak. (Andrews, C. Amulets of Ancient Egypt, p. 22). Very fine condition. Rare.
10th century AD. A flat-section silver plaque depicting a standing female in profile dressed in a long hatched robe, one hand raised touching a necklace of circular beads, long hair stylised in a 'knot' hairstyle, a semicircular loop to the reverse. Cf. Graham-Campbell, J. Viking Art, London, 2013, items 32-34; Arbman, H. Birka I: Die Gräber, Uppsala, 1940, plate 92, items 8 and 10; Swedish History Museum, items 108915-6. 2.31 grams, 23mm (1"). Property of a professional collector. Supplied with a positive X-Ray Fluorescence metal analysis certificate. These types of small pendant were found mostly in Sweden, and the majority of them depict richly dressed and adorned females. The position of the loop and their small size indicate that they were sewn on clothes and probably worn as personal amulets. They are usually called 'valkyries', because of the similar hairstyle and clothes of female 'cup-bearers' depicted on runestones, welcoming a fallen warrior or god Odin into Valhalla. Similar iconography can be seen on small golden sheets known as gullgubber. However, some researchers have pointed out that they may more likely represent a goddess of plenty or fertility. The most probable option is the goddess Freyja, who was known as the powerful mistress of magic, the patroness of love and fertility. The other indicator is her close connection to the valkyries, as in the poem Grimnismál where she is said to receive half of the fallen warriors and welcome them in her meadow Folkvang. A large necklace, which is a prominent feature on these figures, may represent her famous necklace Brísingamen, manufactured by dwarves, which was later stolen from her by Loki and retrieved by Heimdall. Very fine condition. Extremely rare.
5th-3rd century BC. A gold earring with tapering twisted four-rod hoop and ribbed eye; the finial two reel-shaped collars with beaded wire fillets, two hollow-formed heads with braided hair, curls to the edges. 8.49 grams, 32mm (1 1/4"). Private collection, North London; acquired in the early 1980s. The Dioskouroi were twins, Kastor and Polydeukes, born to Leda after her seduction by Zeus in the form of a swan. The father of Kastor was Leda's husband, king Tyndareus, while Polydeukes was the son of Zeus. They were regarded as two horsemen who appeared to their worshippers, particularly sailors, in times of danger. They were adopted by the Romans under the names Castor and Pollux. Very fine condition.
. Fine crystals of neptunite (black) and benitoite (blue) on natrolite, from the classic California, USA, locality. Cf. Bonewitz, Dr. Ronald Louis Smithsonian Rock and Gem, (2008), p.287. 354 grams, 12cm (4 3/4"). Property of a London gentleman; ex Christopher Cavey collection. Benitoite (ben-EE-toe-ite) is a rare blue barium titanium silicate mineral, found in hydrothermally altered serpentinite. Benitoite fluoresces under short wave ultraviolet light, appearing bright blue to bluish white in colour. The more rarely seen clear to white benitoite crystals fluoresce red under long-wave UV light. It was first described in 1907 by George D. Louderback, who named it benitoite for its occurrence near the headwaters of the San Benito River in San Benito County, California. Neptunite is a rare complex silicate mineral containing potassium, sodium, lithium, iron, manganese, and titanium. Very fine condition. Both minerals are rare.
John Sanderson, Wigton: a pine thirty hour longcase clock, the brass roman dial centred by inscription "Remember Man That Die thou Must And after that too Judgement Just", with date aperture to centre, single train movement with anchor escapement, plain pine case with rectangular waist door, panel base on plinth, 74in. (188cms) high. NB John Sanderson was orphaned as a child and was brought up by his father's brother. He then went on to father a child by the wife of this uncle who had brought him up. When the child was baptised, he had to face the shame of this being announced in church before every member of his family and the rest of the parish. His early mistake caused him to turn to religion and for a while he turned to Quakerism. The inscription on this clock appears to have been his favourite verse. Almost all of his output was in thirty hour square dial clocks with anchor escapements and some with lantern movements.
John Wilson Carmichael (1800-1868) "MR. DONKIN'S, OUSE BURN" inscribed with title and colour notes watercolour wash over pencil 9.5 x 15.5cms; 3 3/4 x 6in. PROVENANCE Moss Galleries, Brampton (bearing gallery label verso). NB Mr. Armorer Donkin acquired a property in Jesmond Dene, Newcastle, in 1826 and built the mansion "Jesmond Park" there. He was an important lawyer who died in 1851.
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