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WALL MIRROR, vintage American salvage style, rectangular, deep painted zinc frame, by Urban Artifact, 132cm x 152cm.

*Manuscript Frisket sheet fragment. A fragment from a liturgical manuscript with musical notation, probably France 15th century; subsequently reused as a printing mask 'Frisket' and overprinted in red ink in the early 16th century, comprising four vellum fragments professionally rejoined using collagen skin, recto with 16 lines of manuscript text in black & red, one initial in blue and one larger initial in red, with four lines of music each on 4-line red staves, verso with 20 lines of manuscript text in black & red, with short portion of music on 4-line red stave, the reverse also overprinted with text in red ink, with parts of manuscript cut-out to allow for red ink to be printed through when reused as a frisket mask, during subsequent use in the early 17th century the manuscript was cut into strips (4 in this case) and reused as strengthening in a binding, maximum dimensions 231 x 142mm (approximately 9 x 5.5 inches), professionally contained in conservation mount This manuscript begins with part of "Tantum ergo", being the last two verses of the hymn "Pange Linqua", which was sung on Corpus Christi or Maundy Thursday. The four individual fragments were discovered in a folio 3 volume Greek & Latin Bible, "Vetus Testamentum..." published Paris: Nicolaum Buon, 1628 (Darlow & Moule 4674), when undergoing restoration in the 1990s. Friskets are a rare survival which illustrate the early printing of books in red and black ink. They were often disposed of once their use had ended and therefore only a few examples survive. A frisket is a sheet of material which was used during the early printing process. It was placed between the paper and the printing block, to mask off and protect unprinted areas of the paper sheet from stray ink, allowing all but the red rubrics to be printed through. As a result of this technique the frisket sheet was overprinted in red letterpress. Early printers often recycled medieval manuscript leaves for this purpose, and some were then reused during the bookbinding process. See Margaret M. Smith, "Fragments used for 'Servile' Purposes: The St Bride Library Frisket for Early Red Printing," in Linda L. Brownrigg and Margaret M. Smith, eds., Interpreting and Collecting Fragments of Medieval Books (Los Altos Hills, Calif.: Red Gull Press, 2000), pp.177-188; and noted by Smith in the St. Bride Journal 'Ultrabold 3' (2007): "The Red-Printing Frisket at St. Bride Library." Elizabeth Savage (Upper). "Red Frisket Sheets, c.1490-1700: The Earliest Artefacts of Colour Printing in the West." Papers of the Bibliographical Society of America 108, no. 4 (December 2014): pp.477-522, who lists 21 in total. " This complex object, a manuscript leaf that was re-used first as a frisket sheet for printing selected text in red in one book and then in the pasteboard in the binding of another, is the earliest artifact of any color printing process in the West." (1)

Concorde & Spitfire framed and double signed artifact display. This is a flown Concorde Turbine Blade and a solid piece of metal is of a Battle of Britain Spitfire Mk1Fuselage R6753, flown by Flight Lieutenant David John Pinckney in which he was shot down in combat on 29th August 1940 by a German BF 109e.Pilot Pinckney bailed out safely with slight Injury and minor burns. The aircraft was from 603 Squadron.The wreckage of this Aircraft has been recovered and is now on display at The Battle of Britain Museum in Hawkinge Kent Photograph Concorde G-BOAA with Battle of Britain Spitfire P7350 over the white cliffs of Dover Signed Photograph by Jock Lowe Senior Concorde Pilot and Legendary Spitfire Test Pilot Eric Winkleù Brown Photograph by Adrian Meredith Special Limited Edition of 75 NumberGood condition. All signed items come with Certificate of Authenticity. Can be shipped worldwide.

Roman Empire, ca. 1st to 3rd century CE. An impressive solid bronze cast attachment depicting the head and torso of Mercury, the youthful messenger god as well as the god of commerce. He wears a grand helmet with wings at the back, known as a petasos, quite befitting of this messenger to the gods and guide to souls of the underworld. Given its high level of artistry and symbolism, this attachment was most likely intended for a fine vessel or piece of furniture. A lovely artifact from the ancient Romans! Gorgeous green patina! Size: 3.75" H (9.5 cm) Provenance: Ex-private M. Reniger collection, Chicago, IL. Condition: Old breaks to lower terminus, peripheries of torso, and upper wings. Stunning green patina. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111384

Byzantine, ca. 9th to 10th century CE. A Byzantine bronze cross decorated with an engraving of the Risen Christ figure with upraised hands. A precious religious artifact with a suspension loop making it wearable in the Byzantine Roman world and today. The surface boasts a rich, dark brown-green patina. Size: 2.25" L x 1.5" W (5.7 cm x 3.8 cm). Provenance: Ex-private M. Reniger collection, Chicago, IL. Condition: Old loss to one arm of cross. Otherwise, a nice Byzantine religious artifact with a beautiful deep patina. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111408

Cast iron laundry trough, 44cm and a wooden artifact, (2).

An Early Pottery Artifact with Two Handles and Circular Pedestal Base, 16 cms tall

A hinged solid gold artifact, wt.21.5g.possibly for hanging or the lid of a reliquary box [possibly of ebonized wood hence has not survived], the lid looks to be of 'native' craftmanship and is chip carved with a central emblem and a 'star' motive in each corner, the background being finely punched, the field 'held' by a border made by lowering the field, the 'inside' is plain with a raised platform containing a rock crystal, the top edges of this platform again chipped carved, the plain field exhibits graffiti, possibly Indian?

Interesting English Tudor Period 15th – 17th Century Artifact believed to have been removed from a monument or tomb of a young child. The Alabaster figure appears to be of a young child in Tudor style clothing. Measures 21cm x 9cm.

The copper inlaid HMS Victory set containing original copper artifact from the hull of HMS Victory, a solid silver Battle of Trafalgar silver proof coin from Pobjoy Mint with certificate and presentation box and a collection of other modern day commemorative coins - details on request

CREATION ARTIFACT NIGHT - promotional postcard advertising the gig on 11th Oct 1984 which included an impressive lineup of Jesus & Mary Chain, Primal Scream, Biff Bang Pow, Ochre 5 and Meat Whiplash. Some minor creasing.

A First Great Western Bristol Gromit poster together with Airbus poster, Titanic artifact posters and a Great Western Railways 1938 "Rambling in the Cotswolds" booklet.

Acrylic Presentation with flown artifacts from all Space Shuttles. This stunning new acrylic contains a flown artifact from each space flown US space shuttle commemorating the end of the Space Shuttle program-1981-2011-20 years of space history :Made out of the most advanced acrylic available on the market today-Plexid 55-these are ultraclear with no discoloration over time. Unlike other privately made acrylics these are real blocks, not cheaply glued or screwed together. Each block is in the size of 4" x 6" and about 1`` thick. Perfect for any office table or even flat down in a cabinet! This acrylic contains fragments from each Space Shuttle that went into orbit-each fragment has been flown into space : Space Shuttle Columbia : Flown Duct Tape on STS-5, Space Shuttle Challenger : Flown AFRSI blanket on STS-41 G, Space Shuttle Discovery : Flown Gap Filler on STS-91, Space Shuttle Atlantis : Flown blanket on STS-86, Space Shuttle Endeavour : Flown blanket on STS-77, Any items from the Space Shuttle Challenger are incredibly rare as they were all secured after the explosion of the orbiter and little was released before such as this blanket. The AFRSI blanket is used instead of heatshield tiles as it is more flexible as the name says. Comes with a certificate of authenticity and copies of the original NASA papers. Your out of this world memento of the Space Shuttle program! Good condition

A PRESENTATION EQUESTRIAN MANTEL CLOCK WITH MUSICAL CHIME LYUBAVIN, ST. PETERSBURG,1904, 84 STANDARD Height 45 cm, base 40.5 by 25 cm. The green-grey hardstone chiselled to imitate a rocky outcrop, centred with a circular white dial with black Roman numerals within plain silver bezel and applied with dedication plaque “For distinguished conduct in Russo-Turkish war of 1877–1878”, Roman and Arabic numerals “XXV” and “1863.1888» and the badge of the Order of St. George and enamelled epaulettes, mounted with a silver cast and finely chased figure of a horse with mounted artilleryman; the wooden base containing musical movement with a commemorative plaque engraved in Cyrillic “From colleagues and comrades-in-arms of the Life-Guards of the 1st Artillery Squadron and Field Artillery Battalion” and a list of sixty officers. This fine clock with an equestrian figure was presented to an unnamed distinguished officer who served in the Life-Guards of the 1st Artillery Squadron and Field Artillery Batallion. The red and white colours of the enamel epaulettes on the clock correspond to the colours of the wrist-cuffs and welts of the uniform of this military unit. The clues to the identity of the officer can be found in the names of his colleagues listed on the plaque. Among them: General-Major M. Meklenburg-Strelitskii (Commander of the Squadron 1903–1908), Colonels V. Lekhovich, N. Demidov, E.Smyslovskii and N. Il’kevich, Captain G.Veshnyakov and Staff-Commander N. Belyaev. The military register proves that these officers at some point in their military career all served in the Life-Guards of the 1st Artillery Squadron. The majority of them were still serving in that Squadron in 1904 when the clock was presented. The Life-Guards unit of the 1st Artillery Squadron was founded in 1796 and participated in the Russo-Turkish war (1877–1878) and World War I; the Field Artillery Battalion was founded in 1898 and disbanded in 1918. Both units were based in St. Petersburg. The dedication plaque “For distinguished conduct in Russo-Turkish war of 1877–1878” indicates that the officer to whom the clock was presented, also participated in that war and was awarded the Order of St. George. Research into the Order’s knights who would match these criteria has produced only one name – that of Colonel Alexander Onoprienko. Alexander Onoprienko (1827 – after 1917) was awarded the 4th Class Order of St. George in 1878. By 1904, he was the Commander of the Life-Guards 1st Artillery Squadron for 25 years (from 1879), and in 1888 he also took command of the 2nd Artillery Squadron. He participated in the suppression of the Polish rebellion in 1863 and was in charge of the St. Petersburg military district from 1895. Onoprienko resigned from this post on the 12th August 1904. Therefore, it is reasonable to assume that the present lot was a leaving present from his colleagues. The history of the Russian army and the dramatic events of the first quarter of the 20th century are all reflected in this clock, which makes it not only a remarkable timepiece and work of art, but above all a historical artifact of particular importance to collectors.

A carved wooden African wall mask 52cm high, figural bust and another tribal artifact (3)

Literature - Anthony J P Meyer, Oceanic Art, Vol. I, 1995; Duncan Clarke, African Hats and Jewelry, 1998; Laure Meyer, Black Africa, 1992; Art and Craft in Africa, 1995; Nooter, Secrecy, African Art that conceals and reveals, 1993; Tom Phillips, Africa, The Art of a Continent, 1999; Adler & Barnard, African Majesty, the textile art of the Ashanti and Ewe, 1995; Sieber & Herreman, Hair in African Art and Culture, 2000; Art/artifact, African Art in Anthropology Collections, 1989; Allen F Roberts, Animals in African Art, 1995; Drewal, Pemberton & Abiodun, Yoruba, Nine Centuries of African Art and Thought, 1995; Klaus E Muller & Ute Ritz-Muller, Soul of Africa, 2000; Ladislas Segy, Masks of Black Africa, 1976; African Sculpture, 1958; S L Kasfir, Contemporary African Art, 2000. (15)

Follower of Severo da Ravenna (Italian, c. 1465/75-before 1538), "A Pair of Nude Male Figures Supporting Inkwells", probably mid-16th c., bronze statuettes with russet alloys, chestnut patinas, and black lacquers, heights 6 1/2 in., on variegated black marble plinths. Provenance: Collection of a Gentleman, purchased 1968 from Manheim Antique Galleries (in B.H. Latrobe`s Louisiana State Bank Building), corner of Royal and Conti Streets, New Orleans. Note: Severo di Domenico Calzetta, known from the city of his birth and death as Severo da Ravenna, where he was enrolled as a Master in 1496 (though his principal works were executed in Padua, from 1500 to 1511), is an exceptional artist who was particularly celebrated in the writings of the Paduan humanist Pomponio Gaurico—especially in his treatise De Sculptura (1504)—but was subsequently forgotten, and only "rediscovered" in the 20th century. Over the last fifty years Severo has been acknowledged as one of the most inventive and prolific of all Renaissance bronzecasters: something approaching 200 casts, of at least 35 or 40 different small bronze designs, have been recognized as issuing from his shop. Even within such an enormous oeuvre, the present figures may well represent a yet-unidentified model: their closest counterparts are apparently the three similarly sized and posed Male Nudes on the topmost of the six figural registers of a colossal Bronze Candlestick in the Fine Art Museums of San Francisco (61.35), in which trios of similar and larger figures (with upraised arms) support the successive platforms and of which the Female Nudes on the bottom tier are also idiosyncratic variants of Severo`s Cleopatra. The possibility that these remarkably handsome figures may in fact derive from such a source, is reinforced (first) by their highly unusual preservation in the form of an exact pair, probably confirming their derivation from just such a multi-figured utensil; and (second) by the fact that their absolutely standard Severan inkwells—life casts from a real seashell, such as that of the galeodea echinophora of Linnaeus—are here present in the form of aftercasts (implying their replication from other, identical specimens closer to the natural models). These shell-inkwells are each attached to their figures` backs by two early screws: one above their shoulders, and with a second, running diagonally (and most unusually) into the backs of their heads. References: Anthony F. Radcliffe, "Replicas, Copies and Counterfeits of Early Italian Bronzes," Apollo 1986, pp. 184-185, fig. 4 (for the San Francisco Candlestick); Richard E. Stone, "Severo Calzetta da Ravenna and the indirectly cast bronze," Burlington Magazine, vol. 48 (Dec. 2006), pp. 810-819; Dylan Smith, "I bronzi di Severo da Ravenna: un approccio tecnologico per la cronologia," in L`Industria Artistica del Bronzo del Rinascimento, M. Ceriano e V. Avery, eds., Verona, 2008, pp.49-80 (esp. p. 77, note 75, on the Candlestick again). We are particularly grateful to Dr. Charles Avery for calling that artifact to our attention (private communication).

1920,  10c. "Flier in Plane Watching Biplane", cleanly cancelled by "CCNA/Cartagena" oval handstamp in violet on picture side of postcard from Cartagena to Barranquilla, dated 22 February, First Flight. Obverse showing 5c. National Post franking, thus being overpaid by 3 1/2 centavos, tied by "Correo Aéreo./Cartagena-Colombia", with Barranquilla receipt c.d.s. in centre. This is the scarcest vignette recorded on cover as only 14 items are known, of which seven are from this flight, with this item possessing the added significance of being a postcard, which was a postal artifact quite infrequently used with vignettes. Scott C5. Ex Augusto Peinado.

India Sikh empire shelf c1840s Kashmir Ranjit Singh. A rare and fine Kashmir polychrome wood Shelf made during the Sikh empire of Maharajah Ranjit Singh. Four painted scenes of Sikh^ Hindu and Islamic scenes. The Sikh scene shows Maharajah Gulab Singh^ the seated King on throne is probably Ranjit Singh. The other Hindu and Islamic Scenes represent the respect the Maharajah had for all religions in his empire. Fine gilt floral work. A rare Sikh artifact during the reign of Maharajah Ranjit during his rule in Kashmir – 81.2 cm wide

A Chinese tomb artifact in the form of an altar partly glazed in green and amber, w. 28 cm CONDITION REPORT: repaired crack, chips and surface losses

Battle of Little Big Horn, Gen. George A. Custer, U.S.-Indian Wars. A Rare trio of Battlefield Relics from the Battle of Little Big Horn, June 25, 1876. Consisting of a .45-70 shell casing, U.S. military "eagle" button, and a .45-55 bullet slug. The group was gathered over a 50-year period from the site, legally found prior to 1984 by seasonal park ranger George Scott on private property adjacent to Little Big Horn, near Last Stand Hill and Reno's Defense site. After 1984, it became illegal to retrieve relics from these lands. Each artifact is numbered and accompanied by supporting documentation showing authenticity, ownership, transfer(s) of, and a map with key to show the exact find spot. An important group of well-preserved relics from one of the most famed battles on U.S. soil. [3]

A pair of Artifact 780 chairs designed by Pierre Paulin, on enamelled metal frames, applied label 93cm. high Provenance 20th Century Design, Bonhams, Knightsbridge, 3rd February 1996 lot 184

A 19th century brass/bronze ritual artifact (obo) from the Niger Delta - L15cm

Antiquities: a Roman terracotta pot, 4th-5th century, a Corinthian painted bowl, 6th-7th century, an Eygptian artifact, with figures (3)

A cast brass/bronze ritual artifact (obo) from the Niger Delta - L20cm

A FRAMED PRINTED SILK PROGRAMME FOR THE PHOENIX PARK RACES, August 6th, 1845, "W Frazer Army printer, 37 Arran Quay, Dublin". 40 x 50cm This racemeeting which included some open events was organised by the Dublin Garrison under the direction of the Clerk of the Course Captain Wardlaw of the Royal Dragoons. Apart from listing the conditions and runners in all twelve races over the two days, it also included a set of Rules under which the meeting would be conducted. This is a unique artifact being amongst the earliest of Irish racecards known to survive, while Irish racecard printings on satin of any date are of extraordinary rarity. This was presumably intended for the use of Colonel Bunbury of the 67th Regiment whose name heads the list of acting Stewards. He came from the family of Sir Charles Bunbury who had won the first Epsom Derby with Diomed Provenance: The estate of Tony Sweeney

A ROMAN BRONZE ARTIFACT STYLE HELMET CARRYING HANDLE. Cast in the form of opposing mermaids. Together with an ancient style bronze owl figural finial. Largest length 6.25 inches (16 cm).

A NATIVE AMERICAN STYLE ARTIFACT GROUP. 30 pieces of various age, including contemporary. Comprising 20 stone tools and relics, a bone awl, carved stone bear fetish and clay trade pipe fragments.

A NATIVE AMERICAN STYLE ARTIFACT GROUP, 20TH CENTURY. Comprising a polychrome, feather and bird effigy mounted ceremonial shield, a tortoise shell, feather, horsehair and beaded shaman’s staff and a flint war axe with hide covered handle. Length 21 inches to 67 inches (53.3 to 170 cm).

A THREE PIECE PRE-COLUMBIAN STONE ARTIFACT AND POTTERY GROUP. Comprising a Moche carved granite erotic figural group (repairs), a Chimu portrait vessel and an effigy figure. The largest 11.75 inches (30 cm).

A Navajo Ute Style Chief`s Blanket, First Phase, Mid 19th century, woven in handspun wool of natural ivory, dark brown and black and indigo-dyed blue and lac-dyed red, composed of stripes on a banded ground, 171.5 cm x 141 cm, 67.5`` H x 55.5`` W Literature: For a similar example, possibly by the same weaver, see ``Infinity of Nations`` the catalogue of the permanent exhibition at the Smithsonian`s National Museum of the American Indian in New York. Note: Moran`s is proud to offer this rare artifact, arriving on the market for the first time since its acquisition by the consignor`s family in the 1870`s. An important example of Native American textile art, the blanket arrives at auction from the collection of descendents of Norwegian immigrant Johan Tjentland, later known as John Chantland, who owned a dry goods store in Mayville, Dakota Territory. Chantland traded goods for the blanket in the 1870Æs, and it has since remained by descent in the family collection, having never been exhibited, re-emerging in public view only in the present day. The Navajo learned to weave using the Pueblo vertical loom in the 17th century. They copied various forms of Pueblo blankets including the man`s shoulder blanket, which was a simple design of stripes in alternating colors of natural wools, usually ivory and black, sometimes including bands of wool colored with indigo or other natural dyes, and was woven in a rectangular format that was wider than it was long. The Navajo blankets of what is called the ``First Phase`` developed closely from these Pueblo examples, with the earliest known specimen dating from about 1750 and the majority dating from the late 18th century to about 1850, when the more complicated Second and Third Phase designs, featuring diamonds, half-diamonds and other elements, began to predominate. The effectiveness of the design of the First Phase depends on the careful placement and balance of different widths of stripes, which were meant to run horizontally across the shoulders when the blanket was worn. The tight weave and use of the finest wool ensured exceptional durability and made it virtually waterproof. Expensive even at the time of their manufacture, these status symbols were usually worn only by chiefs but also were highly prized as strikingly beautiful works of art by both Spanish and native traders, including the Sioux and Cheyenne. The Ute particularly favored them, hence the designation ôUte StyleÆÆ. In the 1870Æs these blankets sold for around $100 û 150, a large sum for the time. Today, fewer than one hundred are known to exist. We wish to thank Dr. David Wenger, of Jefferson Medical College, Philadelphia, PA, for the dye analysis testing of this textile

Interesting stoneware artifact in the form of a two-handled flat jug with raised decoration, 10cm overall Further images and condition reports are available at www.reemandansie.com

An interesting hand cased collection of Cornish, British and European Neolithic and Mesolithic archaeological artifacts. There is a booklet with information on each artifact.

Ancient artifact - figure with hand written note stating `This figure represents an Inca girl of the Chancay culture`, plus more information

An ethnographic artifact, of hide bound oval metal form, 16.2cm wide

An antique original Roman artifact comprising of two oil lamps one from Colchester and one from Syria, also a collection of bronze & silver Celtic and Norman coins and a small Roman oil jar (Egypt)

QUARTZ ARTIFACT, reputed a million years old, sourced from the West Coast of Africa, fossil inclusions, 33cm H, together with a display stand, 101cm H.

'Channel 1' An Artifact long aluminium desk tidy designed by F Guille and F Height, compartmentalised form with calendar, clock and ceramic dish sections original manufacturers label 93.5cm. wide

BR(W) Signalbox Lever Plates, qty 4, all ex Patney & Chirton Junction Signal Box. Comprises numbers 23, 24, 27 and 28 and wonderfully accompanied by a series of 8 b/w photographs showing the very lever plates in situ and detailing the different aspects surrounding the box closure and disappearance of the Branch. Together with a nostalgic artifact from Devizes Signal Box in the form of a GWR brass Lever Plate No 34 'Up Main Facing - To Back Platf'm Line' and qty 6, quality b/w images, all annotated, telling the story of this particular plate and the end of Devizes from a railway perspective. Truly historic artifacts from the long gone railways of Wiltshire. Together with a GWR brass Ventilator Cowl from a broad gauge carriage. Clearly stamped on top 'GWR', this is a wonderful survivor from all those years ago. 5 1/2 " diameter across base and stands 4" tall. Not surprisingly has a few dents.

'Channel 1' an Artifact long aluminium desk tidy designed by F Guille & F Height, compartmentalised form with calendar, clock and ceramic dish sections original manufacturers label 93.5cm. wide

Egyptian bronze nail with ram's head terminal, 16cm long, miniature Egyptian bronze figure, 5cm high and one other Egyptian bronze artifact

A small collection of Chinese items comprising; bone handle, Cantonese bowl and cover, small satsuma bowl, blue and white cup, silver mounted vase, floral decorated vase, shallow green glazed earthenware bowl and a terracotta artifact.

A Roman Artifact, a footed bowl of ovoid form, 12 cm Provenance: discovered at Greenhill Cogden, in 1915