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Josef Herman (1911-2000) Watercolour “Nude reclining”, labelled verso, dated 65, with Fosse Gallery John Lindsey Fine Art Limited receipt dated 1999, 23cm x 17cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist, he was an Eastern European Jewish refugee who emigrated to Great Britain to escape Nazi persecution in 1940. He lived firstly in Scotland and then moved to London in 1943, where he held his first London exhibition along with LS Lowry. He is best known for his paintings of working people, including peasants, fishermen and coal miners. In 1981 he was awarded an OBE for services to British art and was elected to the Royal Academy of Arts in 1990 

Ca. 3000 BC.A Mesopotamian black stone figurine of an animal, most likely a pig. It has an elongated body, small legs and pointed ears. Etched concentric circles form the eyes and decorate the figurine. When backlit the stone glows due to its semi translucent nature. It is drilled horizontally.Size: 45mm x 20mm; Weight: 16gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 800 - 500 BC.A Near Eastern chalcedony stamp seal. The seal has a flat face and sides that rise to a Dome. It is pierced sideways. The design shows a heraldic eagle with its head sideways, its wings spread, a hatched body and talons that extend sideways. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: 24mm x 16mm; Weight: 10gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; Ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.

Ca. 500 - 300 BC.An Eastern Greek shallow bowl with a round yet stable base, adorned with concentric circles on the external and internal surfaces. It has impressively thin walls that rise to a broad, circular, thick mouth with a flared rim above a shallow basin.Size: 60mm x 160mm; Weight: 220gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 4000 - 3000 BC.A carved alabaster idol that has an abstract form. It has a wide trapezoidal body, sloped shoulders and a slender neck surmounted by an enormous pair of drilled circular eyes. The body has a roaring animal incised on the frontal side. Size: 31mm x 25mm; Weight: 15gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 2400 - 1800 BC. A Sumerian carved black stone cylinder seal, with deeply incised figures of worshippers in front of a seated crowned god. Each figure is dressed in a long robe. Size: 33mm x 15mm; Weight: 20g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 500 - 300 BC.An Eastern Greek shallow bowl with a round yet stable base with a circle in the centre. It has impressively thin walls that rise to a broad, circular mouth with a rolled rim above a shallow basin.Size: 40mm x 200mm; Weight: 280gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 2nd Millennium BC.A Central Asian/ Bactrian buff stone cylinder seal. It depicts an Ibex and a bird of prey. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz.Size: L:29.4mm / W:13.2mm ; 9.68gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 500 - 300 BC.An Eastern Greek shallow bowl with a round and stable base. It has impressively thin walls that rise to a broad, circular mouth with a rolled rim above a shallow basin.Size: 60mm x 180mm; Weight: 270gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 450 - 350 BC.An Eastern Greek green stone cylinder seal. On the right stands a man in Median headgeer and short clothes, with a piece of equipment fastened to his waist. On the one arm he holds a saddle-cloth, and in the other raised hand he holds a spear against an approaching boar. Above is a lunar crescent and a stylised tree forms a terminal. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: 19mm x 14mm; Weight: 6gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; Ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.

Ca. 2300 - 2000 BC.A Mesopotamian black stone amulet of a bull. It most likely served as a votive offering to the goddess Inanna, the Mesopotamian moon god. This is a very rare piece from the Mesopotamian culture, replete with excellent carving details including lifelike horns, incised wrinkles and the low-relief tail that sweeps up the animal's back. Size: 35mm x 70mm; Weight: 120gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 1400 - 1500 AD.A medieval silver merchant's seal ring with a flat sectioned round hoop that enlarges on the shoulders to form a hexagonal bezel. The seal on the bezel depicts a shield with an armoured arm holding a sword, a popular heraldic device in Eastern Europe. The shield is surrounded by a frame made with a row of dots and surmounted with the initials N.M.Size: D:21.59mm / US: 12 1/4 / UK: Y; Weight: 12.5gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s.

Ca. 500 - 300 BC.An Eastern Greek cast-bronze figurine of a bull with a stocky body, large detailed wings and a long tail. The raised head bears impressed eyes, behind a tapered snout and a pair of horns projecting from its temples. Fine layers of green and brown patina cover the entire bull and imbue it with a wondrous presentation.Size: 140mm x 75mm; Weight: 585gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 7th - 6th Century BC.A red stone, possibly carnelian Neo-Babylonian cylinder seal. It depicts a hero fighting a bull and an Ibex. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz.Size: L:32.3mm / W:10.5mm ; 6.25gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 500 - 300 BC.An Eastern Greek shallow bowl with a round yet stable base adorned on the internal surface with a circle in the centre. It has impressively thin walls that rise to a broad, circular mouth with a rolled rim above a shallow basin.Size: 47mm x 200mm; Weight: 385gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 2900 - 800 BC.A large collection of 13 Near Eastern cylinder seals. The seals differ in shape, material and design. The seals are from the Jemdet Nasr period to the Neo Assyrian period.Size: 18-35mm x 9-18mm; Weight: 65gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Eastern Mediterranean to Middle East, Ca. AD 500 - 800.A bronze processional cross, crafted with the highest degree of skill and artistry. Its form follows the Latin cross, with each arm gradually widening towards the end and culminating in rounded projections. At the intersection of the arms, a roundel embellished with radiating repousse decoration adorns the cross. This type of cross was widely used in various ritualistic, military, and imperial processions, during the Middle Byzantine era. Its ornate design and striking beauty made it a fitting symbol of the power in the Byzantine Empire.Size: 500mm x 265mm; Weight: 2KgProvenance: Private London collection; Ex. NYC collection; Ex. F. F. collection, NYC. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. AD 200 - 300.A large cast bronze disc phalera with a high-relief image of Mithras, standing with a dog. Mithras is known for the tauroctony scene, where he slays a bull. In this scene a is dog present, reflecting the animal's role in the ritual. This scene appears in Mithraic art throughout the Roman Empire, highlighting Mothras' Eastern origins and his importance in Roman religion. This disc was most likely from the clothing of an important Roman military general.Size: 155mm x 170mm; Weight: 1KgProvenance: From the private collection of a Cambridgeshire gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 100 - 200 AD.A large cast bronze disc phalera with a high-relief image of Mithras, standing with a dog. Mithras is known for the tauroctony scene, where he slays a bull. In this scene a is dog present, reflecting the animal's role in the ritual. This scene appears in Mithraic art throughout the Roman Empire, highlighting Mithras' Eastern origins and his importance in Roman religion. This disc was most likely from the clothing of an important Roman military general.Size: 135mm x 130mm; Weight 220gProvenance: Private London collection; Ex. Estate of Peter H. Tillou, CT, acquired on the 1990s, to family by descent.

Ca. 3000 BC.A brown stone hammer cylinder seal, from the late Uruk or early Dynastic period. It's handle is carved in the shape of an animal and its imprint depicts gazelles in a linear design. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz.Size: L:27.5mm / W:15.2mm ; 7.87gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 500 - 300 BC.An Eastern Greek shallow bowl, presenting a round flat stable base. It has impressively thin walls that rise to a broad, circular mouth with a rolled rim above a shallow basin.Size: 45mm x 155mm; Weight: 215gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

A selection of articles and paper ephemera, letters etc, regarding Robert Jobling, North Eastern artist, to include: papers regarding the sale of life works of Robert Jobling at an art exhibition at the Armstrong college by Sir William J. Noble; flyers and booklets regarding Robert Jobling; letters to Robert Jobling from various persons; including some commercial interested parties; and other ephemera.

A Chinese blanc de Chine figure of Guanyin, KangxiH 22,5 cm Provenance: - Ex-collection Robert Mc Pherson (no. 26592, link). A Kangxi (1662-1722) Blanc de Chine Porcelain, Dehua Kilns, Fujian Province, late 17th. This Blanc de Chine porcelain group depicts Guanyin holding a child, with her acolytes either side and a dragon below. The mould-made construction which is rather lightly potted, combined with a small amount of hand-work indicates that this model was made towards the end of the 17th century rather than earlier. Figures of Guanyin are by far the most common of all Blanc de Chine figures and indeed one of the most common images in Chinese figurative art. Guanyin was the goddess of mercy, She was especially revered in the area where this figure was produced ; Dehua in Fujian Province. But her origins stem from Tibetan Buddhism, she was originally the patron saint of Tibetan Buddhism `Avalokitesvara`. Guanyin is actually the shorter form of the name Guan shi yin, which means 'one who observes the voices of the world.' True to her name, Guanyin listens to and understands the worries that plague man's existence. Because of her mercy and generosity, Guanyin is the most-loved of China`s divinities, she is the one people turn to for assistance in their everyday lives. Guanyin is specially venerated by those who are hoping to have children or those who are about to set out for sea. Guanyin is usually portrayed wearing a white cape. On her head is a crown in the style of the Amitabha-buddha. She is shown with a child on her lap, flanked by her two attendants, Longnu (girl) and Shancai (boy). She is flanked by two rocky pedestals, one supporting a book, the other a vase. Guanyin has been given the same qualities as the Virgin Mary of Catholic theology, which is why she is sometimes portrayed holding a child in her arms. Indeed some Blanc de Chine figures are of the the Virgin Mary with child, an interesting mix of East and West. While the worship of Guanyin could be traced historically from India, she is the star of countless legends and folk tales in China. Guanyin`s home on earth was the Putuo mountains, located on an island on China's eastern coast to the south of Shanghai. In China, Putuo-shan is one of the most sacred places in Buddhism and the temple dedicated to Guanyin on the mountain is one of the most important pilgrimage sites for Buddhists and non-Buddhists alike. Guanyin`s birth is celebrated on the 19th day of February, and her enlightenment is celebrated on the 19th of September. On those days, the pilgrims flock to Putuo mountain.

Various pictures and prints including contemporary art prints of poppies after John Taylor, Eastern metal charger, two mid 20th century prints of semi nude women, 'Flaming June' print after Frederick Lord Leighton, etc.

Dame Eileen Rosemary Mayo DBE (1906-1994) "Circular Quay Sydney" (1964) Signed, mixed media, 43cm by 61.5cm (unframed) Provenance: Riverhouse Galleries, Brisbane, Australia Literature: "Shifting Boundries, The Art of Eileen Mayo", thesis, by Margaret Jillian Cassidy, no.154 We are grateful to Peter Vangioni, Curator, Christchurch Art Gallery Te Puna o Waiwhetū, New Zealand for his assistance in catagloguing this piece. Dame Eileen Mayo was a multi-talented artist; a printmaker, painter, illustrator, designer and author whose long career spanned the globe from England to Australasia, yet she never lost the primary focus of her creativity - depicting the natural world.As a young artist, she began establishing herself in London, and after training supplemented her income by modelling for notable British artists such as Duncan Grant, Dod Procter, Vanessa Bell and Laura Knight who helped her secure her first commissions. Indeed, one of Knight’s extraordinary portraits of her, “The Maiden”, sold at Tennants in 2015 for £33,000. With such illustrious friends and mentors, Mayo soon made a name for herself, particularly as a print maker, and became a significant part of the British art scene in the 1930s and 1940s.However, a divorce in 1952 sparked a major change for the artist. Following her father’s death in 1921, Mayo’s mother and sister had emigrated to New Zealand, and by the early 1950s her sister was living in Sydney. After her divorce, Mayo emigrated to Sydney, where she became a key member in Australia’s artistic reinvigoration. With a pressing need for money, Mayo taught at the National Art School and focused on commercial commissions, producing a body of work that included an iconic set of poster designs for the Australian National Travel Association and sets of stamps featuring the country’s flora and fauna.In 1962 Mayo moved to New Zealand. As she settled into her new home, she worked on a painting, "Warehouses, Sydney" (1963), based on drawings she had made of the old sandstone warehouses along the eastern side of Sydney Cove. The painting was later reproduced as a card for the Australian Mutual Provident Society (AMP), whose headquarters were in one of the new modern buildings that sprung up around the quay in the 1960s. According to a record in the National Library, Wellington, Mayo also designed the front cover of the AMP’s 1964 magazine which depicted four warehouses on Circular Quay, which had been demolished to make way for the building of a tower for the British Tobacco Co. (Australia) Ltd.The present work, “Circular Quay, Sydney” (1964) was sold by the Riverhouse Galleries in Brisbane but its whereabouts was lost, and it was listed in Margaret Jillian Cassidy’s thesis "Shifting Boundaries, The Art of Eileen Mayo" as location unknown.Sydney Cove was the site of the landing of the First Fleet in 1788 and was the point from which Sydney grew. The first wharfs were built in 1792, and Circular Quay (originally called Semi-Circular Quay) was constructed between 1837 and 1844 to become the central port for the city. As the city outgrew the cove, it was converted to a passenger ferry hub, and from the 1950s the stone warehouses were replaced with modernist buildings and the first skyscrapers in Sydney.In 1965 Mayo moved to Christchurch, where she would live for the rest of her life. She taught at the University of Canterbury, and served on the Print Council of New Zealand, all the while producing work that combined her sense of colour harmony, eye for design and in-depth research into her subject. Mayo had devoted her life to art, and continued to work until 1985, when arthritis overcame her. She was made a Dame in 1994 for services to art, just days before her death. Today, Mayo’s work is once more coming to prominence, and a major exhibition of her work was held in 2019 at the Christchurch Art Gallery. The work is unframed. Some light surface dirt. Slight surface scratch to the right of the cream arch on the second building from the left, the odd minor superficial surface scratch to the sky. Upper left of top edge to the left of the palm tree, extreme right of top edge between the palm tree and the corner approx 3cm. Some minor losses to the outer edges, perhaps were an old frame has rubbed? Slight crease to lower right corner. Small scratch to the brown centre of left edge. Small brown spot upper right of the sky to the right of the orange building's roof. See images.

A collection of twenty Bachmann Branch-Line gauge OO Scenecraft buildings, including No. 44-064 Art Deco signal box, No. 44-0133 Wigmore Barn, No. 44-0023 Station Building and No. 44-0155 North Eastern Railway Station, all boxed, and a set of station staff within a blister pack.

19th century gilt metal jargoon set buckle, an Eastern white metal temple dog torque bangle and an unusual Art Deco monochrome celluloid necklace depicting a black cat against the moon (3)

ITEM: Plate with decorationMATERIAL: PotteryCULTURE: RomanPERIOD: 4th Century A.DDIMENSIONS: 40 mm x 183 mmCONDITION: Good conditionPROVENANCE: Ex Marius-Victor-Ernest Dumas private collection (North Africa and France), acquired in Tunisia between 1890 - 1920. M. Dumas was Controleur Civile (French colonial administrator) of the city of Sousse in Tunisia prior to World War I. This collection of Roman and North African antiquities has remained in the family for the past 100 years in the Haute-Savoie region of France.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman vessels in North Africa played a crucial role in the region's integration into the broader Roman Empire, facilitating trade, military transport, and cultural exchange across the Mediterranean. North Africa, particularly regions like modern-day Tunisia, Algeria, and Libya, became vital to the empire for its agricultural production, especially grain, olive oil, and wine. Roman vessels, including merchant ships, were essential for transporting these goods from the fertile plains of North Africa to Rome and other parts of the empire. The region's harbors, such as Carthage, Leptis Magna, and Sabratha, became bustling centers of maritime trade, connecting North Africa to Italy, Spain, and the Eastern Mediterranean.The design and technology of Roman vessels used in North Africa reflected the broader Roman advancements in shipbuilding. These ships were often built to be sturdy and capable of handling long voyages across the Mediterranean. They varied in size and purpose, with some designed for large cargo loads, while others were used for military purposes, like protecting coastal regions or transporting soldiers. Roman merchant vessels, typically equipped with a single large sail and several oars, were key to moving bulk goods, such as African grain and oil, which became the lifeblood of Rome, particularly in times of food shortages.The cultural exchange facilitated by these Roman vessels in North Africa was profound. Along with goods, ideas, religions, and art traveled across the sea, leading to the spread of Roman culture and the development of a distinct Romano-African identity. Roman amphorae, ceramics, and other artifacts discovered in North African archaeological sites reveal the extent of this interaction. Roman architecture, language, and customs became deeply rooted in the region, blending with local traditions to create a unique cultural landscape. Roman vessels, therefore, were not just tools of commerce, but vehicles for the transformation of North Africa into a crucial and vibrant part of the Roman world.

Creswell (K.A.C.) A Bibliography of the Architecture, Arts and Crafts of Islam..., first edition, Cairo, 1961 § Walsh (Rev. Robert) Constantinople and the Scenery of the Seven Churches of Asia Minor, Illustrated, 2 vol. in 1, First Series only (of 2), engraved frontispiece, additional vignette title, map and 45 plates after Thomas Allom, foxing, bookplate of Lord Gwydyr, contemporary morocco blocked in gilt & blind, g.e., rubbed, rebacked preserving old spine, n.d. § Goodwin (G.) A History of Ottoman Architecture, 1971 § Fergusson (James) History of Indian and Eastern Architecture, original roan-backed cloth, spine worn, 1899 § Havell ( E.B.) Indian Architecture, 1913 § Harada (Jiro) The Lesson of Japanese Architecture, 1936, plates and illustrations, all but the second and fourth original cloth, the third with dust-jacket, all rubbed; and 22 others on Eastern art & architecture, v.s. (28)

Thomas Marie Madawaska Hemy (1852-1937) An Aran Funeral: Inishmaan (1912) Oil on canvas, 91 x 122cm (35¾ x 48'') Signed and dated 1912Literature: Pall Mall Gazette, Pictures of 1913, May 1913Exhibited: London, Royal Academy, 1913, number 613 Thomas Marie Madawaska Hemy (1852-1937), the younger brother of fellow artists Charles Napier Hemy (1841-1917) and Bernard Benedict Hemy (1844-1910) was born on the passenger steamship Madawaska (hence his name) while his family were emigrating to Australia. After studying at the School of Art in Newcastle and under Charles Verlat (1824-1890) in Antwerp, he exhibited widely. In the summer of 1912, Hemy travelled to the Aran Islands on a painting trip, an experience whose profundity he recorded both in painting and in writing, the former in this example and the latter in an article titled 'In the Isles of Romance', published in The Boy’s Own Paper (Issue 11, 1915).In this work Hemy depicts the funeral of one of Inishmaan's poorest men, with the coffin coming from nearby Inisheer as there was no carpenter on the island. Such was the sensitivity with which Hemy beheld this event that he ensconced himself 'on a ledge of rock overlooking the burial-ground, so that the presence of a stranger should not obtrude.' From this vantage, Hemy observed many minute details, including the stretched hide of a currach boat applied to the coffin lid and the three wooden bars 'lashed on' the coffin for the purpose of carrying it from the house of mourning a mile and a half away. Moved by the event, Hemy went on to describe one of the most extraordinary episodes he had ever witnessed: 'Most of the people following the procession made their way to the different gravestones and mounds and knelt at their own family graves, praying, 'keening,' and wailing until all was ready for the interment. What a difference to the sombre Breton funeral that we have seen depicted - the falling rain, the sad garments of the spectators, and the priests and choristers with banners and crucifixes. I doubt if their ceremony is a tenth part as impressive as that of the poor farmer fisherfolk of the Aran Isles burying their dead.' Unmentioned by Hemy is the name of the graveyard, that being Cill Ceananach, located on the eastern side of Inishmaan. The flat headstones ('only the more prosperous families have them') remain a feature of the graveyard to this day, as do the remains of an ancient church. Hemy exhibited this work at the Royal Academy in 1913, alongside 'An Emigrant's Departure' (currently untraced). A watercolour study for this work was sold in these rooms, 8 December 2021, lot 116.

* ELYSE ASHE LORD RI (BRITISH 1900 - 1971), UNKNOWN limited edition hand coloured etching on paper, signed and numbered 57/100 mounted, framed and under glass image size 28cm x 23cm, overall size 39cm x 32cm Note: Elyse Ashe Lord was a watercolourist and drypoint etcher who favoured exotic and Far Eastern figure subjects, often treated in delicate or imaginative colours. Little is known about her early life although she held her first important solo exhibition of 70 drawings at the Brook Street Gallery in 1921 and in the following year was elected a member of the Royal Institute of Painters in Water Colours. She was also a member of the Society of Graver-Printers in Colour. She exhibited actively from 1915 to 1939, showing at the Royal Academy, Royal Institute of Painters in Water Colours, Royal Scottish Academy, Walker Art Gallery, Liverpool, Fine Art Society, Lefevre Gallery and at the Paris Salon, where she gained a silver medal for colour prints. Alexander Reid issued much of her work in book illustrations including 'The Arabian Nights'. In 1990 Cyril Gerber Fine Art held an exhibition of her work. She lived in Bexley, Kent. Her work is represented in the collections of the British Museum and Victoria & Albert Museum.

* ELYSE ASHE LORD (BRITISH 1900 - 1971), UNKNOWN limited edition hand coloured etching on paper, signed and numbered 47/100mounted, framed and under glassimage size 28cm x 23cm, overall size 38cm x 31cm Note: Elyse Ashe Lord was a watercolourist and drypoint etcher who favoured exotic and Far Eastern figure subjects, often treated in delicate or imaginative colours. Little is known about her early life although she held her first important solo exhibition of 70 drawings at the Brook Street Gallery in 1921 and in the following year was elected a member of the Royal Institute of Painters in Water Colours. She was also a member of the Society of Graver-Printers in Colour. She exhibited actively from 1915 to 1939, showing at the Royal Academy, Royal Institute of Painters in Water Colours, Royal Scottish Academy, Walker Art Gallery, Liverpool, Fine Art Society, Lefevre Gallery and at the Paris Salon, where she gained a silver medal for colour prints. Alexander Reid issued much of her work in book illustrations including 'The Arabian Nights'. In 1990 Cyril Gerber Fine Art held an exhibition of her work. She lived in Bexley, Kent. Her work is represented in the collections of the British Museum and Victoria & Albert Museum.

Original vintage World War Two propaganda poster Bon Voyage! Mais N'oublie pas que J'Attends ton retour pour partir / Have a nice trip! But don't forget that I'm waiting for your return to leave. Art Deco design featuring a workman shaking the hand of a man in a suit waith a steam train pulling up in the background. Issued by Information de L'Etat Francais. The Service du travail obligatoire - Compulsory Work Service, STO was the forced enlistment and deportation of hundreds of thousands of French workers to Nazi Germany to work as forced labour for the German war effort during World War II. The STO was created under laws and regulations of Vichy France, but it was used by Nazi Germany to compensate for its loss of manpower as it enlisted more and more soldiers for the Eastern Front. The German government promised that for every three French workers sent it would release one French prisoner of war. Those requisitioned under the STO were accommodated in work camps on German soil. Good condition, folds, browning, minor creasing. Country of issue: France, designer: Unknown, size (cm): 60x39.5, year of printing: 1940s

Scrapbook. c1870s. Oblong cloth, large 4to. With various ephemera, art work and photographs including "Pic-nic at Darjeeling 1875. Sepia toned photograph. some well executed pen and ink illustrations, three eastern tree leafs with eastern art in paint applied to them. manuscript poetry, newspaper clippings, other photographs. Some leaves detached, some items loose

Three Mid-19th Century Australian Aboriginal Boomerangs, comprising a Victoria Region Large War Boomerang, of wide ‘V’ shape, the back set with old paper label inscribed ‘3 Australian Boomerangs given to Mr.Herrenberg’s Mission’, 69cm; a Darling River Region Boomerang with finely adzed decoration to the surface, 65 cm; a Heavy War Boomerang, with linear carved decoration, 59cm (3)Footnote :- for similar examples see The Art of Eastern Australia, 2009, pages 217 and 223 1 - good condition. 2 - three tiny insect holes, otherwise good condition. 3 - good condition.

Rabindranath Tagore (1861-1941), Bengali poet, Nobel Prize winner for Literature, 1913, Signed letter addressed to the eminent Irish poet and theosophist, James Henry Cousins, enclosing revisions to a poem making part of 'The Fugitive', which was published in July 2018. (4)PROVENANCE:Letter sourced from the property adjoining Lobswood House, originally called ‘Black Lake Cottage’, the summer retreat of author Sir JM Barrie from 1901 to 1908, the years in which he created Peter Pan and where Barrie entertained his cricketing friends (many of whom are well known authors and playwrights) and the Llewelyn Davies family.FOOTNOTEA book has been published September 2021, titled Rabindranath Tagore and James Henry Cousins: A Conversation in Letters, 1915–1940. According to the marketing description of this book: The volume explores their shared ideas of culture, art, aesthetics, and education in India; aspects of Irish Orientalism; Irish literary revival; theosophy, eastern knowledge, and spiritualism etc. The book reveals a hitherto unexplored facet concerning two leading thinkers in the history of ideas in a transnational context.

Two Chinese blue and white export porcelain square tiles, Kangxi period, each painted with lotus within scrolling tendril borders, 20.2cm x 20.2cm and 20.5cm x 20.5cm (both chipped). Provenance: from the private collection of David Armitage, former conservator to the Department of Eastern Art at the Ashmolean Museum, Oxford, between 1970 and 1999.

A Chinese blue and white export porcelain square tile, Kangxi period, painted with scattered flowerheads within flower basket and scrolling leafy tendril borders, 18.2cm x 18.2cm, together with another similar tile, painted with lotus and scrolling tendril border, 18.7cm x 18.7cm (minor faults). Provenance: from the private collection of David Armitage, former conservator to the Department of Eastern Art at the Ashmolean Museum, Oxford, between 1970 and 1999.

* ALASDAIR GRAY (SCOTTISH 1934 - 2019), FROM AN EASTERN EMPIRE limited edition silkscreen print on paper, numbered 15/200, inscribed 'Alasdair, to Kenny Renata, 3rd April 1983' unframedoverall size 42cm x 30cmNote: Along with John Byrne, Alasdair Gray has been described as one of the great Polymaths of the Scottish modern arts movement. Prolific writer and artist since graduating from the Glasgow School of Art in 1957. He published novels, short stories, plays, poetry and translations, and wrote on politics and the history of Scottish and Enlgish literature. Gray trained in mural painting, and his Glasgow murals include those in the Hillhead subway station and in the Oran Mor, an arts and music venue at the head of Glasgow's iconic Byres Road. His paintings, drawings and prints are well-known and widely collected. Examples of his paintings, drawings and prints are currently housed in various public collections, including The Victoria and Albert Museum, The Kelvingrove Art Gallery and Museum, The Museum of Modern Art, The Scottish National Gallery of Modern Art, The National Library of Scotland, The Hunterian Museum and The Arts Council of England collection. His art was celebrated in 2014-15 with a major retrospective exhibition at Glasgow's Kelvingrove and in 2014 the BBC aired a one hour documentary to honour the 80th year of this 'giant of Scottish arts'.

Seven volumes of Poster To Poster Railway Journeys in Art by Dr. Richard Furniss, Volume 1. Scotland, Volume 3. The Midlands and Wales, Volume 4. Eastern Counties of England, Volume 5. London and the South East, Volume 6. The British North West, Volume 7. The Glorious South West, Volume 8. Worldwide Destinations missing volume 2, volumes 1, 4, 6 and 7 are signed by the author, no limited editions (7)

A mixed lot to include an Art Nouveau brass and glass fronted fire screen, a tapestry topped stool and a Middle Eastern folding occasional table together with 19th century and later ceramics to include three Masons Ironstone china jugs, one A/F, two tureens and other itemsLocation: GIf there is no condition report shown, please request

Folk art copper and white metal offering or altar bowl, the exterior with white metal decoration (possibly silver) showing four images of a traditional figure joined by bows with central flowers, possibly eastern European, 24cm diameter x 11cm highCondition ReportSurface scratches, accretions, tarninshing. Some dents around the bottom of bowl. General wear and tear.

WW2 British Notts & Derby Regt, RASC, REME (Plastic) Cap badges, Enamel Sweetheart badges, Sweetheart Mirror, buttons, Polish Army Trench Art Lighter, WW1 British 18 Prd trench art shell case 1917, WW2 British cloth formation signs XXX Corps, 5th Ind Div, 9th Armoured Div, Eastern Command, Eight Army, 21 Army Group, etc.

Six Eastern European art silk teddy bears, with golden art silk --12in.(30.5cm.) high (slight wear)

Various soft toys, a 1930s British unjointed panda, possible a pyjama case, now stitched at back, with clear and black glass eyes with remains of painted backs; a large Merrythought rabbit with synthetic brown plush and card tag --18in. (46cm.) long; a Merrythought pull along turtle, an Eastern European golden art silk bear and others (9)

LARGE MIDDLE EASTERN DALLAH COFFEE POT50cm high, a pair of Persian style brass vases with figures and foliate design, 27cm high, a pair of brass and copper Art Nouveau vases with rose band, 33cm high and an Indian brass jardiniere, 18cm high (6)

9th-11th century A.D.. Piriform body with domed filler-hole; intended to be filled with explosive liquid and wick, used as a hand grenade. Cf. Arendt, W. I., Granaten des 13-14. Jahrhunderts, die an der Wolga gefunden sind, Zeitschrift fur Historische Waffen-und Kostumkunde, 11 (1926-8), p.42; cf. Arendt, W., Die Spharisch-konischen Gefasse aus Gebranntem Ton, ibid; cf. Ayalon, D., Gunpowder and Firearms in the Mamluk Kingdom, London, 1956, p.16. 580 grams, 12.5 cm (5 in.). Apart from the use of siphons or manual flame-throwers called cheirosiphona, special corps of Roman soldiers employed terracotta grenades, in the form of small jars, abundantly evidenced in archaeological excavations. Such were the ??????, vessels (sometimes also of bronze) used for Greek fire. They were called ?????? k?????? or ???????????? where the former had a bulbous shape and the latter a more cylindrical form.From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. Accompanied by an academic paper by military specialist Dr Raffaele D'Amato, dated 15 July 2019 and titled 'Eastern Roman Empire - Greek Fire Bomb or Hand Grenade (??????? k???????) 9th-11th century AD'. [No Reserve]

3rd-2nd century B.C.. Barrel-shaped hoop with ellipsoid bezel, incuse gryphon standing in profile; Eastern Greek. 5.42 grams, 21.89 mm overall, 17.64 mm internal diameter (approximate size British K 1/2, USA 5 1/2, Europe 10.58, Japan 10) (3/4 in.). UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman. [No Reserve]

13th-6th century B.C.. Comprising four tips with triangular blades; each with a raised midrib and a long tang. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowheads. 143 grams total, 13.5-18.2 cm (5 1/4 - 7 1/8 in.). Although some of them are different in shape, these arrowheads are apparently related types of a polythetic group. Two basic deltoid forms are represented: one has a sharp, flat blade, the ends of which extend to form wings or barbs, and a prominent midrib extending into a long tang that often has a stop; the blade shape varies from deltoid to more manifestly triangular. The other form has no barbs, but it has a prominent midrib extending to the tang, and a narrow leaf-shaped blade.Acquired 1980-2015. Ex Abelita family collection. [4]

Southern Italy or Constantinople, 11th century A.D.. An imposing panel divided to four sections by a central cross on a stepped pedestal, the lower and upper arm with branch-like extensions; the upper quadrants with a circlet surrounding a palm tree-shaped motif; each lower quadrant with a bird in profile facing back; mounted on a custom-made display stand. Cf. Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos.724 (929), vol.II, p.520; 1329 (2463), vol.III, p.537, for type. 16 kg total, 44.5 cm including stand (17 1/2 in.). The cross, symbol of resurrection and salvation, carried the meaning of Paradise, and a cross on a stepped base derived from that on Golgotha. The birds represented here are probably a symbol of joy of the afterlife, of paradise conceived as the locus refrigerii or refrigerium of the soul. The panel could have been part of a marble iconostasis of a Church of the Eastern Roman Empire, in Southern Italy, although the use of porphyry can suggest a Constantinopolitan provenance.Private collection, London, UK. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12179-221676. [No Reserve]

2nd-1st century B.C.. Modelled nude in seated pose with legs astride and right arm bent, the grotesque face slightly raised, horns to the crown; mounted on a custom-made stand; Eastern Greek. 71.5 grams total, 78 mm including stand (3 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. [No Reserve]

8th-6th century B.C.. Standing with left front leg slightly bent, crested head, detailed muzzle, raised tail, loop to the back; mounted on a custom-made display stand. Cf. Engel, N. et al., Bronzes du Luristan: Énigmes de l'Iran Ancien IIIe-Ier millénaire av.J-C., Paris, 2008, item 103; see also the Detroit Institute of Arts Museum, accession number 72.45, for a similar example; Muscarella, O. W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 293, for type. 43 grams, 58 mm (2 1/4 in.). Pendants in the form of animals, mostly goats or mouflons, but also horses or other equids, are quite common among the corpus of the Luristan pendants.with a London, UK gallery, 1971-early 2000s.

Uruk III, circa 3200-3000 B.C.. Biconvex in profile with impressed lines dividing the face into zones, each with impressed dots, triangles or other symbols, some extending onto the edges. 68 grams, 55 mm (2 1/8 in.). From specialised collection of cuneiform texts, formed in the 1950s-1990s. The property of a London gentleman and housed in London, thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and 1990s. The collection is exceptional for the variety of types, including some very rare and well preserved examples. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12242-220893.

Circa 13th-15th century A.D.. With reserved lozenges on a hatched field, carnated section, scaphoid bezel with reserved panel on foliage field, possibly Ottoman or Eastern Mediterranean. 3.74 grams, 21.89 mm overall, 17.68 mm internal diameter (approximate size British O 1/2, USA 7 1/4, Europe 15.61, Japan 15) (7/8 in.). UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman. [No Reserve]

Circa 2nd millennium B.C.-9th century B.C.. Including triangular, leaf-shaped, barbed, square-section, and other types. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowheads. 446 grams total, 10-17.5 cm (4 - 6 7/8 in.). It is significant to remember that the use of winged and barbed heads in Anatolia was common since the second millennium B.C., but apparently their employment began earlier in this area, where types like these occur alongside the non-barbed, predominantly ribbed and tanged types.Ex London, UK, collection, 1990s. [18]

Circa mid 3rd millennium B.C.. In the form of an advancing stallion on a plinth, holding its head high and gazing to the right; short standing mane with incised detailing, and a long tail extending to the plinth; recessed eyes, likely once inlaid, drilled nostrils and open mouth; the plinth joined at a right angle to two connected rings atop three parallel rods, the rods joined at the bottom to an arching bar with side lugs. See a similar terret ring in Muscarella, O.W.,Bronze and Iron, ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, no.466; Basmachi, F., Treasures of Iraq Museum, Baghdad, 1976, pl.90; for a similar terret in silver and electrum at the British Museum, from Ur, see Crouwel, J.H., ’Wheeled Vehicles and their Draught Animals in the Ancient Near East – an Update’ in Raulwing, P., Linduff, K.M., Crouwel, J.H., Equids and Wheeled Vehicles in the Ancient World, Oxford, 2019, pp.29-48, fig.6; for the mounting on chariots and carts see Stillmann, N., Tallis, N., Armies of the Ancient Near East, 3000 BC to 539 BC, Worthing, 1984, pp.119-121, figs.56-58. 603 grams, 28.5 cm (11 1/4 in.). This magnificent chariot fitting was cast in one piece, probably made in arsenical copper in Mesopotamia in the Early Dynastic Period (ED). The reins were connected to the head harness and then passed through the rein ring, that was connected to a yoke pole. The purpose of the rein ring was to prevent the multiple reins snarling and also added an element of control for the driver. The lower concave bar was tied onto the pole by rope or leather, while the hooks served to secure the ends. These rein rings were not only practical instruments, but also ornamental elements of royal vehicles. A well-known example of this type is a terret crowned by an equid figure that was associated with Pu-abi’s sledge in the Royal Cemetery at Ur, today at the British Museum, inv.121438.Acquired from Toufic Arakji, Hamburg, Germany, 14 January 1997. with Mahboubian Gallery, London, UK. Property of a London gentleman. Accompanied by an academic academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12160-218627. [A video of this lot is available to view on Timeline Auctions Website]

2nd-1st millennium B.C.. Comprising: six specimens with a tapering round-section shank, balustered finial topped with a conical head, fastening holes; four specimens with tapering round section, poppy-shaped head and flared collar beneath. Cf. Muscarella, O. W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, items 35-39, 208, 290-291, for the types. 714 grams total, 14.1-41.7 cm (5 1/2 - 18 3/8 in.). According to the study of Moorey, the knobbed pins from Iran are documented from the earliest periods of metallurgy, increasing in quantity during the late 2nd millennium, to reach the peak of the production from the early 1st millennium. Pins were used as hair and clothing fasteners, but it is not excluded that they could have been used by women as personal means of defence in dangerous situations.From a collection of a gentleman, acquired on the London art market in the 1990s. [11, No Reserve]

4th-3rd millennium B.C.. Formed as a squat, oblate body and dressed upper with two piercings forming eyes; flat underside. See parallel idols in Louvre Museum, accession number SB 9141, for similar; Metropolitan Museum of Art, accession no.1988.323.8; British Museum, excavated by Professor Sir Max Edgar Lucien Mallowan, inv. Nos.126473, 126477 and 126479; see also Collon, D., Ancient Near Eastern Art, London, 1995, p.47, for type; for the discussion on Tell Brak, their iconography and the religious meaning of eye idol see Green, J.B. & T.R., Gods, Demons and Symbols of Ancient Mesopotamia, An illustrated dictionary, London, 1992, pp.78-79. 298 grams, 72 mm (2 7/8 in.). Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12186-222131. (For this specific lot, 5% import VAT is applicable on the hammer price.)

Iron Age, Cypro-Geometric, 950-850 B.C.. Including a thin-walled bowl with painted motifs, an amphora with 'attached' handles and a small oinochoe decorated with circlets. Cf. Karageorghis, V., Cipro, Crocevia del Mondo Mediterraneo orientale 1600-500 a.C., Milano, 2002, fig.302 p,340, for a similar amphora. 812 grams total, 7.7-16.5 cm (3 - 6 1/2 in.). The objects are proto-white painted pottery, with abstract linear lines and drawings, and circlets. The design of the pots and vessels followed local traditions, but as an island with links stretching across the Eastern Mediterranean, Levantine and Aegean coasts, Cyprus was influenced by foreign ceramic fashions of the time. The beautiful concentric circles were reminiscent of the sun; careful horizontal and vertical lines intersecting each other forming a graphic landscape.From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. [3, No Reserve]

2nd millennium B.C.. Pillow-shaped with cuneiform text to both broad faces and one long edge; part of one face absent. Cf. cuneiform text from Babylon now in the Metropolitan Museum of Art, New York, under accession no.86.11.282. 58 grams, 58 mm (2 1/4 in.). From specialised collection of cuneiform texts, formed in the 1950s-1990s. The property of a London gentleman and housed in London, thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and 1990s. The collection is exceptional for the variety of types, including some very rare and well preserved examples. [No Reserve]