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Lot 655

Art Deco moulded glass small rectangular section vase, the front frosted with a frolicking nude fairy amongst grass, height 3.25' (base chipped)

Lot 408

A Waterford Crystal cut glass lidded condiment jar, mark to the base, together with a cut flared vase and a pair of boxed Stuart brandy glasses (3)

Lot 487

Small Poole Pottery cylindrical vase, shape No. 987 pattern E/TV

Lot 506

A large Belgian Pottery baluster vase decorated with stylised flowers upon a green and blue mottled glaze, stamped marks, height 14.25'

Lot 522

Belleek porcelain ovoid flared vase, moulded and painted with shamrock, together with two other Belleek vases (3)

Lot 466

Various glass to include an ovoid pale blue glass vase with bubble inclusions and a peach glass cake stand etc.,

Lot 474

Edwardian green knopped glass bottle vase with silver applied rim, London 1905, height 8'

Lot 505

Modern Coalport porcelain urn vase 'THE GAINSBOROUGH VASE' Edition No. 42/100, height 9.25' (lacks lid)

Lot 444

Chinese bronze flared vase, the neck cast with a bird on a tree, the opposing panel with a tree upon key ground, the square reticulated base case and pierced with trees, upon a flared foot, height 6.75'

Lot 32

Late Victorian silver vase by James Dixon & Son, of cylindrical wrythen fluted form with flared rim, height 4', weight 5oz approx

Lot 91

Silver pedestal sugar caster, Birmingham 1937; together with a silver weighted squat candlestick and a Hong Kong sterling silver weighted bud vase (3).

Lot 454

Victorian Thomas Webb satin glass white opaque and pale blue encased ovoid vase, the undercasing with a trellis pattern, painted and gilded with foliage and flying insects, unmarked, height 6.5'

Lot 488

Poole Pottery Carter Stabler and Adams teacup and saucer, together with a vase (both af)

Lot 644

Victorian Royal Worcester reticulated ovoid vase No. G547, together with a Royal Worcester leaf shaped small cream jug (2)

Lot 480

Four pieces of glass including a Victorian jug with etched decoration, circular cut dish, cream jug and a vase wheel engraved with daisies

Lot 420

Pair of Loetz style green iridescent glass vases, the base and rim encased with metal scroll mounts, height 8', together with a similar small bud vase

Lot 423

Japanese Kutani specimen bottle vase, together with a Japanese Celadon glazed bottle vase and a pair of Continental porcelain spill vases

Lot 435

A Cornish red serpentine turned squat candlestick, height 4.5'; together with a Cornish serpentine vase (2)

Lot 695

Chinese blue and white small bottle vase decorated with a writhing dragon chasing the flaming pearl, leaf mark to the base, height 6.25'

Lot 1190

Italy. Kingdom of Sicily, Charles I of Anjou AV Saluto d'oro. Naples, struck after AD 1278. + KAROL' • DEI • GRA • IERL'm • SICILIE • REX, coat-of-arms of Jerusalem and Anjou; rosette flanked by stars on either side; above, upturned crescent flanked by stars / + AVE • GRACIA • PLENA • DOMINYS TECYM, the Annunciation: Archangel Gabriel standing right, holding lily in left hand and pointing with outstretched right at Virgin standing facing slightly left, raising hands in adoration; between them, lily in vase. CNI XIX 1-4; Spahr -; MEC 14, 675-676; Friedberg 808; MIR 18; Pannuti-Riccio 1. 4.35g, 22mm, 12h. Extremely Fine.

Lot 16

Lucania, Herakleia AR Stater. Circa 330 BC. Head of Athena right, wearing single-pendant earring, necklace, and crested Attic helmet decorated with Skylla throwing stone held in right hand; EY to right / |-HPAKΛEIΩN, Herakles wrestling the Nemean lion: Herakles stands facing, head and upper body turned to left, right hand holding club behind body, left hand grasping lion’s throat; fluted jug beneath. [Club and AΠΟΛ to left]. Work 47 (same dies); Van Keuren 51 (same obv. die); HN Italy 1378; SNG ANS 66; SNG Lloyd -; Basel -; Bement 138 (same obv. die); Gulbenkian -; Hunterian 7 (same dies); McClean 825 (same obv. die); Weber 706 (same dies). 7.76g, 21mm, 4h. Good Extremely Fine. Rare. An excellent example of this type, one of the finest to have come to the market in the past fifteen years. From the Ambrose Collection; Ex Gemini VII, 9 January 2011, lot 30. The flourishing of an artistic culture in Herakleia is attested by the beauty and variety of its coinage, and that they survive in relative profusion is demonstrative of the wealth and commercial importance of the city. Despite this, it is not often that one encounters them in as good a state of preservation as is the case with the present coin. The depiction of Herakles on the reverse of this coin places the hero in a typical fighting stance of the Greek martial discipline Pankration, or Pammachon (total combat) as it was earlier known. Indeed, this fighting style was said to have been the invention of Herakles and Theseus as a result of their using both wresting and boxing in their encounters with opponents. The stance portrayed on this coin is paralleled on an Attic black-figure vase in the BM depicting two competitors, one in a choke hold similar to that of the lion here. The composition of this design is very deliberate - as the lion leaps forwards, Herakles who had been facing the lion, turns his body sideways. The myths tell us that Herakles had first stunned the beast with his club, and now he dodges the lion's bite and reaches his right arm around its head to place it in a choke hold. Impressively careful attention has been paid to the detail on this die, including realistic rendering of the hero's musculature, which has been engraved in fine style.

Lot 717

Domitian AR Denarius. Rome, AD 95-96. IMP CAES DOMIT AVG GERM P M TR P XV, laureate head right / IMP XXII COS XVII CENS P P, winged figure of Minerva flying left, holding spear and shield. C. 294; BMC 237; RIC 791; CBN 210. 3.56g, 19mm, 6h. Good Extremely Fine. The iconography of this coin is most intriguing. This is the only depiction of a winged Minerva in all of Roman coinage, and indeed the concept itself has few parallels in surviving classical art. The closest comparable figure may be found in the winged statue of Minerva Victrix at Ostia, which originally formed part of the decoration of the upper gate known as the Porta Romana. This winged form of Minerva may well have been taken from earlier Greek images of Athena, such as that shown on a black-figure vase found at Orvieto and illustrated in Röm. Mitt. XII, pl. xii, which shows two representations of Athena – one winged and one without wings. With the exception of Nike-Victoria, most of the Greco-Roman gods had shed their wings by the early classical period; that such an archaism should be revived in the time of Domitian is therefore quite inexplicable, save perhaps for the possibility that it was simply an act of whimsy by an emperor who was known to favour Minerva above all other gods.

Lot 289

Mysia, Kyzikos EL Stater. Circa 500-450 BC. Cerberus standing to left on tunny fish / Quadripartite incuse square. Von Fritze 10; Boston 1538. 15.90g, 19mm. Etremely Fine. Extremely Rare. Ex David Walsh Collection, privately purchased in 2001. Early Greek descriptions of Cerberus (Kerberos) vary greatly. The earliest literary appearance of Cerberus in Hesiod’s Theogeny (c. 8th – 7th centuries BC) portrays the monster with fifty heads, while Pindar (c.522-443 BC) gives him one hundred heads. Later writers however almost all describe Cerberus as having three heads. For practical reasons, representations of Cerberus in Greek art often depict him with two visible heads (the third being assumed to be hidden), but occasionally three heads, and rarely only one, are also seen. The earliest securely datable artefact depicting a three-headed Cerberus is a mid-sixth century BC Laconian cup by the Hunt painter, which clearly shows the beast with three canine heads, covered by a coat of snakes, and a tail ending in a snake’s head, held on a chain leash by Herakles. A slightly later amphora fount at Vulci c.525-510 (Louvre F204) shows a two-headed Cerberus in similar pose to that on our present coin, also with a snake-headed tail. Though representations of Cerberus in Greek art are fairly common, with the familiar story of Herakles’ twelfth labour being a popular motif, depictions of Cerberus on Greek coins are seemingly limited to only this issue of Kyzikos, an extremely rare bronze issue of Epeiros (see Roma Numismatics 4, lot 114), and an exceedingly rare stater of Cumae in Campania (Rutter 76). Barclay Head proposed that the appearance of the monster here was in reference to or in honour of the city of Kimmerikon, sited on the southern shore of the Cimmerian Bosphorus which had previously been known as Cerberion (Pliny 6, 6, 6, 18), based on the assumption that the city would have been a familiar destination for Kyzikene traders. However it is probably incorrect to assign any specific significance to the type, since it is well known that Kyzikos frequently took inspiration for its coin types from the art of other Greek city-states’ coins and wares. The designs of Kyzikos’ coinage appear to have been decided upon apparently without necessarily requiring said types to have any deep meaning to either Kyzikene citizens or indeed anyone else in particular, often being admired it seems purely for their compositional beauty. Since the design of this coin does not copy any known type (the Epeirote bronze not being issued until the mid-fourth century), and Cerberos on Rutter 76 being of markedly different style (and only part of the design), it is probable that it copies the design of a vase or other vessel, such as the aforementioned Louvre F204 - an Attic red figure amphora - which found its way to Kyzikos. Regardless of the origin of the design, the present coin is a magnificent example of this important mythological theme, and is one of very few known staters of the type, the hektes being relatively more plentiful, but still rare.

Lot 299

Mysia, Kyzikos EL Stater. Circa 500-450 BC. Double-bodied winged sphinx standing with head facing atop tunny fish to right, wearing ouraios, hair falling in plaited locks behind / Quadripartite incuse square. Von Fritze -, cf. 128, pl. IV, 14 (hekte); Greenwell -, cf. 101 (hekte); SNG France -, cf. 280 (hekte); CNG inventory 925160. 16.16g, 20mm. Of the highest rarity, one of only three known specimens, and arguably the finest. Ex Roma Numismatics VIII, 28 September 2014, lot 631. The sphinx as a type recurs frequently on the coinage of Kyzikos and new types are still being discovered today, yet the double-bodied sphinx is certainly the most curious depiction of this mythological monster, and the reason for it being so is not easy to divine. Greenwell (p. 102), who was citing Cousinéry, proposed that it was simply an artistic device for showing the sphinx as seated facing, 'arising from the difficulty of depicting a figure in that position'. This proposition appears plausible, until one considers that double-bodied owls are also engraved on coins at various cities including Athens, where they certainly had no problem with engraving a front-facing owl. More damning still for this simplistic view, the double-bodied sphinx appears also in statuary where again there is no logical reason to sculpt it so unless it possesses some significance - see in particular the limestone Tarentine column capital of the Corinthian order at the Metropolitan Museum, New York, and also the marble gravestone decorated with a loutrophoros supported by a double-bodied sphinx at the British Museum (both 4th century). The concept of double-bodied monsters was an ancient one, and probably originated in ancient Sumeria, as they are seen on cylinder seals from this culture, and are repeated later on ancient Iranian goldwork. Here, the double-bodied monsters probably signified a dualistic nature that is easily adaptable and can be one thing or another, or a span between two distinct yet connected elements such as sunrise and sunset. Tom Rasmussen (Corinth and the Orientalising Phenomenon) proposes that the artistic portrayal of the sphinx as a double-bodied monster was first devised at Corinth, where it can be found on a Protocorinthian olpe vase, circa 640 BC, known as the Chigi olpe which is now in the Villa Giulia in Rome. This was likely the product of a blending of Greek and Eastern imagery, yet the result is wholly original; indeed Rasmussen points out that 'Greek Orientalising is rarely straight copying of Oriental'. It has often been suggested that the electrum staters of Kyzikos take their types from a wide range of artistic sources across a broad geographical range, as might be expected for a city-state that relied almost entirely for its prosperity on being a commerce hub where east and west would meet and exchange wares and ideas. Whether or not Corinth was the origin of the double-bodied Sphinx, it is not surprising that such an intriguing motif should be adopted at Kyzikos.

Lot 228

A 21st century Lisa B. Moorcroft vase, with lustre 'Bumblebee' pattern, impressed signature to base, h. 15 cm CONDITION REPORT: visible crazing through out

Lot 259

A group of four Chinese blue and white ceramics to include a ginger jar depicting seated gentleman, similar spill vase, floral quill pot and matching miniature lidded urn (4)

Lot 210

Clarice Cliff for Wilkinsons, a Bizarre ware vase, decorated in the 'Rhodanthe' pattern, with marks to base, h. 20 cm CONDITION REPORT: No apparent damage or repair

Lot 224

A mid-20th century Walter Moorcroft vase of baluster form, decorated in the 'Orchid' pattern, with impression marks and a paper label to base, h. 13 cm CONDITION REPORT: No obvious damage or restoration (see pictures)

Lot 267

A Mdina green glass goblet marked to base 1943, together with a cut glass vase and an etched goblet (3)

Lot 269

A large green and clear glass twin handled urn style vase with scroll and etched bird to front, together with one matching smaller and one similar (3) CONDITION REPORT: Chips to one of the smaller vases (see pictures) small vase- 17.5cm large vase- 21cm

Lot 221

Sally Tuffin for Moorcroft, a limited edition 211/350 vase, decorated with penguins and their young, with impression and painted marks to base, h. 26 cm CONDITION REPORT: craquelure visible throughout, age long line crazing (see pictures)

Lot 220

Sally Tuffin for Moorcroft, a limited edition vase decorated in the 'Eagle Owl' pattern, with imprinted and painted marks to base, h. 31 cm CONDITION REPORT: Condition appears ok, scratches to base (see pictures)

Lot 222

A William Moorcroft vase of slender tapering form decorated in the 'Pomegranate' pattern with berries and birds, h. 27 cm

Lot 237

A Royal Copenhagen tall vase, with floral decoration, marked 2629/2129, h. 27 cm

Lot 329

Two soapstone carvings of Foo dogs on plinths, together with soapstone stem vase, a black totem of mythical creatures and a jade style handled and white metal magnifying glass (5)

Lot 225

A Moorcroft bottle vase, decorated in the 'Pomegranate' pattern, impression and paint marks to base, h. 16 cm CONDITION REPORT: small chip to rim of the vase

Lot 212

A 19th century Royal Worcester 'Nautilus' shell vase surmounted by a lizard, on a circular base with coral and shell decorated stem, and gilt decoration on a white ground, green mark to base with a 'V' underneath, h. 21 cm CONDITION REPORT: Loss of gilt decoration and rubbing throughout

Lot 582

Marc Antony AR Denarius. Military mint travelling with Antony and Plancus in central Greece, 39 BC. M•ANTON•IMP•AVG•III VIR•R•P•C, lituus and vase / L•PLANCVS•IMP•ITER, thunderbolt, vase and caduceus. Crawford 522/4; Sear, CRI 255; R. Newman, "A Dialogue of Power in the Coinage of Antony and Octavian," ANSAJN 2 (1990), 39.2; BMCRR (East) 118; RSC 22. 3.79g, 19mm, 7h. Very Fine. Extremely Rare; only 12 examples on CoinArchives.

Lot 266

A Siddy Langley lustre vase of squat bulbous form, h. 13 cm

Lot 192

A Quantity of Miscellaneous Silver, including a Georgian tablespoon, London hallmark, dated 1796 Samuel Godbehere & Edward Wigan, five Georgian teaspoons, three silver dessert spoons, a pair of Georgian sugar tongs and a cut glass silver topped bud vase, approx total wt 390 gms.

Lot 327

A Titian Ware Hand Painted Moorcroft Style Vase. hand painted approx 30 cms high.

Lot 23

Parker Duofold Mandarin Yellow Limited Edition Fountain Pen, produced in 1995 as part of a 10,000 piece limited edition. Numbered 05834 with the original yellow and black presentation box and papers, together with Parker Emerald and Ruby Ink Bottles. Note: The bright yellow colour was inspired by a Cloisonné vase that G. Parker encountered on a trip to Japan, the original model was the design he most favoured.

Lot 293

A Doulton "Slater" Patent Vase, with pink and aquamarine floral decoration, approx 28 cms high, a Royal Doulton pottery tobacco jar with the inscription "Let him now smoke, who never smoked before, and he who always smoked, now smoke some more" . (2)

Lot 288

A Cornish Troika Pillar Vase of Abstract Design, approx 22 x 7 cms.

Lot 341

A Mdina Vase, together with a dumper weight with bubble inclusions. (2)

Lot 279

A Vintage Beswick Cream Vase, nr 819, of decorative naturalistic design, approx 30 cms

Lot 292

A Doulton Lambeth Ware Vase, cobalt floral highlights on green glaze, approx 18 cms high.

Lot 305

Ray Finch (1914-2012) Winchcombe Pottery, A Large Ovoid Brown Glaze Pottery Vase, approx 30 cms

Lot 168

A Chinese Baluster Vase and Cover, turquoise glaze hand painted with white chrysanthemum, chasing dragons to the collar, approx 23 cms

Lot 312

William Moorcroft 'Pomegranate' Vase, the vase of squat form, on green blue ground, factory marks to base, circa 1918-1929, factory marks to base, painted initials, approx 14 cms

Lot 337

An Art Deco Style Enamel Painted Vase, depicting ladies in various costumes and signed Eleanore Belle Munro, the vase painted in vivid colours, approx 25 cms.

Lot 202

A Silver and Glass Vase Stand, decorative silver inlay together with an antique mother of pearl handled cake knife. (2)

Lot 311

William Moorcroft, 'Pomegranate' Vase, the vase of squat form, on green blue ground, factory marks to base, circa 1918-1929, painted initials, approx 14 cms

Lot 303

A Katzhutte Blanc de Chine Posy Vase, depicting a Grecian scene, approx 17 cms w x 14 cms h.

Lot 266

Three pieces of Noritake ware, Crown Staffordshire vase and a pair of lidded pots etc. Condition report: see terms and conditions

Lot 279

19th century brown glazed Staffordshire jug, Doulton Burnslem art wares vase and a Royal Worcester jug Condition report: see terms and conditions

Lot 285

Moorcroft hibiscus vase and one other vase Condition report: see terms and conditions

Lot 283

Moorcroft pansy pattern vase Condition report: see terms and conditions

Lot 251

Green Dudson Jasper to include two pairs of vases, another vase, bowl and biscuit jar Condition report: see terms and conditions

Lot 281

Diamond china twin handled vase signed E. Clay also a pair of pierced cabinet plates by J. Allen Condition report: see terms and conditions

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