Three Royal Worcester porcelain pot pourri vases with covers, each with hand-painted fruit decoration and signed by H. Ayrton, all numbered 1286 to base, 27cm high CONDITION REPORT Both larger vase bodies in good order, one larger lid has chip to knop. Knop glued back on and one arm glued back on, inner lid good order. One larger lid has two pieces and knop loose but present , inner lid in good order. Smaller inner lid cracked and central spine and one arm re-stuck. Smaller inner lid small chip, smaller vase body in good orderVases painted on both sides
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1930s Burleigh Ware jug with parrot handle, Czechoslovakian vase, Art Deco jug and a coffee pot CONDITION REPORT Czechoslovakian vase is heavily crazed. Coffee pot has a chip to underside of lid plus a chip to the top rim of the body and one small chip on the body, the two other items are in good condition
Zsolnay Pecs, a reticulated vase, circa 1880, the body painted with stylised floral designs against a cream ground, outlined in gilt, with two reticulated flanges, raised on a spreading foot, printed marks and stamped '684' 35cm high (possibly ground and lacking an original cover)
A quantity of Art Glass, including two Andrew Fote hanging decorations, iridescent and internally mottled glass; an Egg-form and similar vase, internally decorated with gilt inclusions, two Czech glass vessels and a similar vase with pulled neck; three glass atomisers, two incense stands, and a pressed glass dish (one box)
13th-6th century BC. A bronze sceptre in the form of a male wearing a headdress, prominent nose and round eyes, rearing animal heads to either side, wide hips and animal feet below; attached to a vase shaped base with narrow neck and bulbous body; mounted on a custom-made stand. 451 grams, 25.5cm including stand (10"). Fine condition. Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
Early Dynastic III, 2900 BC-2350 BC. A white fine grained stone macehead with vase-shaped body and pierced through the centre; to one side the lion-headed bird deity Imdugud with wings outstretched; to the other a male figure facing front wearing a tall headdress and kilt, holding two rearing bulls by the head. For a similar mace head with the image of Imdugud see The British Museum accession number 23287 490 grams, 90mm (3 1/2"). Fine condition. Rare.Property of a London gentleman; acquired from a major Mayfair gallery; acquired on the London art market before 1999. In Sumerian and Akkadian mythology, Imdugud, also known as Anzû, is a divine storm-bird and the personification of the southern wind and the thunder clouds.This demon stole the Tablet of Destinies from Enlil and hid them on a mountaintop. Anu ordered the other gods to retrieve the tablet, even though they all feared the demon. According to one text, Marduk killed the bird; in another, it died through the arrows of the god Ninurta. Anzu also appears in the story Inanna and the huluppu tree, which is part of the Akkadian story of Gilgamesh in the section called 'Gilgamesh, Enkidu and the Nether World.'
4th century BC.A restrung set of gold elements comprising: rosette plaques with beaded wire to the outer petals, hollow piriform vase pendants with filigree and granule detailing; pairs of lotus blossoms with beaded wire and granule detailing, hollow ribbed pendants with filigree loop and granule finial. Cf. the Taranto necklace in Despini, A. Greek Art. Ancient Gold Jewellery, Athens, 1996 item 138-9. 71 grams, 36cm (14 1/4"). Very fine condition, some restoration.Ex an important American collection from Chicago, Illinois, USA; disposed of in 1995; previously in the Mansees collection; formed 1950s-early 1990s.Supplied with a positive X-Ray Fluorescence metal analysis certificate. Gold occurs rarely in Central Greece, but resources in Thrace, Asia Minor, Egypt and Spain were all exploited. Herodotus mentions Hyperborean sources, in the far north, which might indicate deposits in the Urals; he also writes of gold obtained by the Carthaginians who sailed beyond the Pillars of Herakles, known to us as the Straight of Gibraltar, to the Atlantic coast of Africa. Most famous in ancient literature is the gold of Asia Minor, where the mythical king Midas of Phrygia and the historical king Croesus of Lydia became synonymous with vast wealth. In Greece itself, Herodotus saw gold mines on the north Aegean island of Thasos, as well as the Cycladic island of Siphnos. The style of this necklace is in keeping with the tastes of the Eastern Greeks and the Hellenistic kingdoms. The pieces that come from the Black Sea region show the taste for gold, rendered beautifully by immigrant Greeks and local goldsmiths, was indulged in by both chieftains grown rich from the trading of grain, timber and other natural resources and Greek merchants and settlers, who may have adopted local customs. While some of their treasures are clearly the work of local craftsmen, others, like this piece, are highly refined works of unadulterated Greek style, suggesting that they were either imports or the products of Greek craftsmen who settled abroad in order to profit from serving wealthy foreign clients.
Campania, South Italy, 330-310 BC. A large ceramic black glazed bail-amphora with a pierced and ridged stirrup-shaped handle to the top, rolled and angled rim with long tapering neck and rounded shoulder, both painted with series of vertical lines in black; the body decorated to one side with a seated female in a robe, hair tied in a headscarf and holding a pair of dishes towards a second, standing female, also in long robes and hair tied in a headscarf, to the centre a disc with X-pattern, behind the seated female a crooked staff; to the other side a group of three female figures, two seated and one standing, all in loose robes and hair arranged in a bun, the standing figure holding forward a dish to the seated figure holding a tympanum , small altar to the feet of the lower seated figure; below and encircling the vase is a black wave pattern on a reserved band; tapering pedestal foot with band of black paint. [A video of this lot is available on the TimeLine Auctions website] 2.86 kg, 60cm (24"). Fine condition, painting degraded.From an old British private collection; formed between 1975 and 1985.Cf. Mayo, M. The Art of South Italy: Vases from Magna Graecia, Virginia, 1982 p. 207; for a similar example see The Cleveland Museum of Art, accession number 1967.245.The bail-amphora was one of the innovative new forms of pottery that was developed by Greek settlers in South Italy and Sicily. The form bears some similarities to the loutrophoros and probably had a similar function for holding water used in ritual bathing. The scenes on such pieces indicate the nature of these rituals which would appear to be associated with marriage and religious customs reserved for women. The institution of marriage in ancient Greece encouraged responsibility in personal relationships. Marriages were usually arranged by the parents; professional matchmakers were reluctantly used. Each city was politically independent, with its own laws affecting marriage. For the marriage to be legal, the woman's father or guardian gave permission to a suitable male who could afford to marry. Wintertime marriages were popular, and a common month in which Greeks married was Gamelion or January, which was sacred to the goddess Hera; note the two females on this vase wrapped in heavy robes against the cold. The couple participated in a ceremony which included rituals such as veil removal but the couple living together made the marriage legal.
4th century BC. An Apulian red-figured ceramic epichysis with a profile female head between volutes, with a diademed sakkos and chignon to the rear; reel-shaped body with a tall angled handle showing two human headed rotelles at the join to the beak; glazed tongues at the base of the neck, radiating strokes on the upper lip; to the body, a white laurel wreath along an incised line. 208 grams, 15.5cm (6"). Fine condition.Property of a Swiss collector; acquired HannoVerum GmbH Auktions - und Handelshaus, Hanover, Germany; formerly in a private German collection; previously acquired on the German art market.Cf. Gorny & Mosch Auktionen Munich, June 2016 sale, lot no. 204; see also Edinburgh, National Museums of Scotland, 1964.1; Beazley vase no. 1000850; CVA Edinburgh, National Museum of Scotland, 32 pl. (749) 32.7-8.
13th-14th century AD. A discoid bronze mount with strap to the reverse, central lion rampant within a double border, Lombardic script legend to the border 'CRAS DABOR NON O[D]I[E]' and means 'I will be given tomorrow not today' (the object itself is speaking), this is the form of the legend with the verb in the passive mood – dabor [I will be given], it is also found with the verb in the active mood – dabo [I will give (you it)]. 2.20 grams, 22mm (1"). Fine condition. Rare.Property of a Canadian lady; acquired 1970s-1990s.Malcolm Jones, Sheffield University, Dept. English Language & Linguistics, Senior Lecturer 1994-2009 and advisor to the British Museum and Portable Antiquities Scheme, says: 'The legend reads CRAS DABO NON HODIE. This is inscribed on nine other late medieval objects -- the most relevant parallels are a French annular brooch reported in the late 19C archaeological manuals but seemingly first by M.H. Bordier in his Notes sur les affiques in Memoires de la soc nat des antiquaires de Fr vol.36 (1875), 248f. (this example further inscribed on the reverse), and two finger-rings found in England, one in Coventry in 1830 [see Joan Evans English posies p.5 -- apparently now in Birmingham Mus) and a recent Nottinghamshire find reported in the Trans Thoroton Soc of Nottm vol 97-8 (1993), 138 [CRAS DABOR NON HODIE]. The others are on one of the engraved bindings of an abbot's staff in Salzburg of 12/13C date; a vase dated 1253 made for Thiebaut de Bethune (d.1289 at the siege of Tripoli); a commander's ivory baton of early 15C date (now in Pesaro) belonging to Niccolo Trinci; and a 15C drinking-horn in the Royal Danish Kunstkammer. But there is also a fascinating anecdote involving the four words CRAS DABOR NON HODIE being inscribed on knives in the (English) 14C Fasciculus Morum. The phrase was proverbially used -- of bad payers, for example -- and in one gloss on corvus in the Physiologus, is given to the crow as an elaborated version of his usual cras cras. In the DABO version as here, it 'ought' to mean Tomorrow I will give [?it ?this] not today -- but quite what is to be given -- I'm assuming we are in an amatory context -- is open to debate!'. [No Reserve]
14th-15th century AD.A silver ring with round section shank with pellet to the base; expanding shoulders with relief floral decoration to the top and underside; tiered oval bezel engraved with vase with scrolling plant coming from the top. 15 grams, 28.63mm overall, 23.76mm internal diameter (approximate ring size Z+4 1/2 USA 14 3/4 Europe 34.71 Japan 33) (1 1/2").A large wearable size.From the family collection of a London gentleman; formed in the late 1940s-1950s; thence by descent. [No Reserve] Very fine condition.
Later 2nd century AD.A D-section gold hoop with flared shoulders, flat elliptical plaque with central cell, inset carnelian cloison with intaglio image of a two-handled vase. Cf. Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994 item 305 for type. 5.44 grams, 22mm overall, 19.60mm internal diameter (approximate size British T, USA 9 1/2 Europe 21.26 Japan 20) (1"). Very fine condition.Property of a Surrey collector; acquired in the early 1970s.
236-237 AD. Rome mint. Obv: MAXIMVS CAES GERM legend with bare-headed, draped, cuirassed bust right. Rev: PIETAS AVG legend around with sacrificial implements: lituus, knife, patera, vase, simpulum, and sprinkler; SC in exergue. RIC 11; BMCRE 204; Cohen 7; Sear 8409. 14.48 grams. With old collector ticket. [No Reserve] Fine.
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653833 item(s)/page