We found 3375 price guide item(s) matching your search

'WHERE BOOKS ARE BURNT, PEOPLE ARE BURNT IN THE END' and 'HOWL WITH THE WOLVES (AFTER DUCHAV)' two linocut prints on paper, both signed, titled and dated '83 both mounted, framed and under glass image size 31cm x 31cm each, overall size 48cm x 48cm each Note: Ken Currie is renowned for his unsettling portrayal of the human figure. The artist's rich, luminous paintings depict mysterious rites, rituals, and quasi-medical practices, offering a meditation on violence in its many guises. Currie studied at the Glasgow School of Art from 1978-1983 and rose to attention within a generation of painters known as the "New Glasgow Boys" in the 1980s. In 1987, Currie completed a powerful series of large scale History paintings for the People’s Palace in Glasgow, commemorating the massacre of the Calton Weavers. Through the 90's deeply affected by humanitarian events in Eastern Europe Currie's works evolved, his focus shifting to confront ideas of mortality and corruption, both physical and moral. Over the last 10 years Currie's work has addressed the horrors of the contemporary world, without shying away from their brutality or grotesque nature. In 2009 Currie was commissioned to paint the theoretical scientist Peter Higgs following his receipt of the Nobel Prize, the painting now hangs at The University of Edinburgh. Ken Currie has exhibited widely internationally, including a 2013 solo exhibition at the Scottish National Portrait Gallery which also commissioned his painting Three Oncologists. Currie's work is held in many major public collections including Tate, London; Scottish National Gallery of Modern Art, Edinburgh; New York Public Library; Imperial War Museum, London; Campbelltown Arts Centre, New South Wales; Yale Center for British Art, New Haven; Gulbenkian Foundation, Lisbon; and the British Council, London.

Ca. 1200 - 600 BC.A collection of three bronze weapons. The first is a bronze short dagger cast via the lost wax (cire perdue) technique with a small polygonal section tang. The double-edged blade has sharpened edges, and a profile that tapers to a narrow tip and prominent midrib. The second is a spearhead with a short curved tang and large blade finely cast in one piece. The third is a dagger with double sharpened edges and short tang. Layers of mottled green and brown patina envelop the entire weapon.For similar see: Muscarella O. W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, 1988, n. cat. 392. Size: 260-305mm x 40-40mm; Weight: 580g.Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 3000 BC.A white veined stone stamp seal drilled vertically. The back presents a recumbent griffin with a curved beak in deep relief. Size: 40mm x 22mm; Weight: 14g.Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 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.; ex. 1970s/early80s UK art market.

Ca. 1200 - 600 BC.A collection of three bronze weapons. The first is a bronze short dagger cast via the lost wax (cire perdue) technique with a small polygonal section tang. The double-edged blade has sharpened edges and a profile that tapers to a narrow tip. The second is a dagger with a short tang and a large blade finely cast in one piece. The third is a spearhead with double sharpened edges and a short curved tang. Layers of mottled green and brown patina envelop the entire weapon.For similar see: Muscarella O. W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, 1988, n. cat. 392. Size: 280-330mm x 40-60mm; Weight: 680g.Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 500 BC.A heavy cast silver phiale, a special libation vessel used for holding wine, with a hollow, rounded, raised boss, known as an omphalos at the centre. The lower part of the bowl is scalloped, leading to a corseted neck adorned with incised teardrop motifs that encircle it. The neck flares outward into a wide, smooth mouth with an unpronounced rim. A cuneiform inscription is present near the edge of the rim.A similar example hammered for $8,225 at Christie's, Live Auction 9380, Antiquities, 13 June 2000, Lot 499. For similar see: The British Museum, Museum number 1994,0127.1, Muscarella O. W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, 1988, n. cat. 327.A similar example hammered for $8,225 at Christie's, Live Auction 9380, Antiquities, 13 June 2000, Lot 499. Size: 245mm x 45mm; Weight: 485g.Provenance: Private UK collection, acquired from the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1970s on the UK art market. 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.

CHINESE CERAMICS - The George Eumorfopoulos Collection. Catalogue of the Chinese, Corean and Persian Pottery and Porcelain by R. L. Hobson, London, 1925-28. Volumes I - VI, folio, 450 plates, some coloured, cloth. FIRST EDITION. ONE OF 725 COPIES. (6)CHINESE, KOREAN AND PERSIAN CERAMICS -  The George Eumorfopoulos Collection. Catalogue of the Chinese, Corean and Persian Pottery and Porcelain by R. L. Hobson. London: Ernest Benn, Ltd., 1925-28. Volumes I - VI, large folio (450 x 310mm). Half titles, titles printed in blue and black, 450 plates, some mounted and coloured. Original textured black and gold cloth boards, black cloth title panels to the upper covers, the spines lettered in gilt, uncut (extremities very lightly scuffed, some creasing at the foot of spines). Provenance: Longstock House (small stamps to the rear pastedowns of the first 4 vols.); publisher's prospectus for another related work loosely-inserted. FIRST EDITION of this monumental catalogue of part of the unrivalled collection of collector and philanthropist George Aristides Eumorfopoulos (1863-1939). ONE OF 755 COPIES, VOLUME ONE NUMBER 489 OF 725 COPIES AND VOLUMES II - VI NUMBERS 184 OF 725 COPIES, ALL "ON VAN GELDER MOULD-MADE PAPER". George Eumorfopoulos was a British collector, of Greek lineage, of Chinese, Korean and Near Eastern Art. He had originally intended to bequeath his entire collection to the British nation but the Great Depression of the 1930s forced him to sell part of it to the V&A and the British Museum for the generous sum of £100,000. He also donated some 800 pieces to the Benaki Museum in Athens. He was the founder, and first President of, the "Oriental Ceramic Society". Rowland Outline and Bibliographies of Oriental Art p.61. (6)

CHINESE CERAMICS - Oriental Ceramics. The World's Great Collections, Tokyo, 1976-77, 12 volumes, large 4to, text in English and Japanese, mounted coloured plates, original silk boards gilt, slipcases. FIRST EDITION. NUMBER 41 OF 300 COPIES. (12)CHINESE AND ORIENTAL CERAMICS - Oriental Ceramics. The World's Great Collections. Tokyo: Kodansha Ltd., 1976-77. 12 volumes, large 4to (364 x 260mm). Text in English and Japanese, mounted coloured plates, monochrome illustrations. Original silk boards gilt, turquoise slipcases (partly faded). FIRST EDITION. NUMBER 41 OF 300 COPIES. The collections, to each of which a separate volume is dedicated, are at the following museums: 1) Tokyo National Museum, Japan, 2) National Museum of Korea, Seoul, 3) Museum Pusat, Jakarta, 4) Iran Bastan Museum, Teheran, 5) The British Museum, London, 6) Victoria & Albert Museum, London, 7) The Percy David Foundation of Chinese Art, London; 8) Musée Guimet, Paris, 9) Museum of Far Eastern Antiquities, Stockholm, 10) The Freer Gallery of Art, Washington D.C., 11) Museum of Fine Arts, Boston and 12) The Metropolitan Museum of Art, New York. Only part of the lot is illustrated. (12)

George Chann (Chinese/American, 1913-1995). Mixed media on canvas abstract painting in blue, yellow, and red. Signed along the lower right.Provenance: Private Texas Collection, 2023; Private Minnesota Collection.Lot Essay:George Chann was a Chinese-American artist known for his significant contributions to modern art in the mid-20th century. Born in Canton, China, Chann immigrated to the United States in 1933, where he later became a prominent figure in the American art scene. His work is characterized by a fusion of Eastern and Western artistic traditions, blending traditional Chinese calligraphy with modern abstract expressionism. Chann's unique style and innovative approach garnered attention, leading to numerous exhibitions and accolades throughout his career.In the 1950s and 1960s, Chann played a key role in the California art scene, particularly in the San Francisco Bay Area. His paintings often featured bold brushstrokes, vibrant colors, and a sense of spontaneity that reflected his deep understanding of both Chinese and Western artistic philosophies. Chann's artistry transcended cultural boundaries, offering viewers a bridge between two worlds. His legacy continues to influence contemporary artists, highlighting the rich tapestry of cultural exchange in the realm of modern art.Unframed; height: 16 3/4 in x width: 21 1/4 in. Framed; height: 20 3/4 in x width: 25 in x depth: 1 in.Condition: The painting is in good condition overall. The surface is stable with no visible cracks or losses. When viewed under UV light, there are no visible areas of restoration. There is some soiling to the verso that does not affect the recto. The frame has some wear.

A German 1918 75mm trench art shell case, marked Berndorf to the base, decorated in Eastern style, with inlaid metal and script, with matching lid, also made from a German 75mm shell, together with a pair of 1917 dated German 75mm shell cases, made by Magdeburg, decorated with inlaid metal and script, in Middle Eastern style.

A FINE GEORGE III GILT BRASS MOUNTED JAPANNED MUSICAL TABLE CLOCK MADE FOR THE 'OTTOMAN' MARKETJ. AND M. BROCKBANK, LONDON, CIRCA 1780The six pillar triple chain fusee bell-striking movement with plates measuring 7.5 by 5.25 inches and verge escapement regulated by short bob pendulum, the musical train playing a choice of six tunes on eight bells with twelve hammers, via a 3 inch long 1.75 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, every three hours after the sounding of the hour bell, the backplate engraved with an arrangement of symmetrical rococo scrollwork around a central signature Brockbank, London beneath a small basket of flowers within a scribed-line outer border, the 6 inch arched dial with circular fired white enamel 'Turkish' numeral chapter disc signed J. & M., BROCKBANK, LONDON to centre and with conforming five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands, set beneath twin fired enamel subsidiary dials for CHIME/NOT CHIME selection and BENI SAIKIT/USCHAE DEUR/SABAC HAFIF/SAMAHE tune selection dials with fine engraved brass arrow-shaped pointers, set into a mid-blue painted background polychrome decorated with musical trophy and floral spray infill to spandrel areas and between the subsidiaries, the arched case brown japanned to resemble tortoiseshell and extensively applied with fine chased gilt brass mounts, with flambeau-urn finial to the domed superstructure applied with rosette decorated diamond lattice segment frets between floral scrolls over brass a fillet edged shaped skirt, set on a platform with gilt cavetto moulding and scroll-cast fret infill flanked by further flambeau urn finials set on projecting acanthus cast scrolls, the front with scallop shell-centred scroll crest and conforming shoulder mounts over hinged repeating lappet leaf cast gilt brass glazed door flanked by husk edged front angles, the sides applied with ribbon-tied swags to shoulders over fine scroll-cast break-arch sound frets set within half-round moulded frames and projecting outwards at the base to follow the profile of the swollen lower margins fronted by foliate cast mounts, the rear matching to the front except for having an arched wooded door inset with brass fillet moulding to the glazed aperture, on generous scroll cast bracket feet with leaf cast apron mount between.52cm (20.5ins) high, 29cm (11.5ins) wide, 18cm (7ins) deep. John Brockbank gained his freedom of the Clockmakers' Company in 1769 and immediately took his brother, Myles, in as an apprentice who subsequently gained his freedom in 1776. The brothers entered into partnership in around 1780, working from an address at Cowper's Court, London, which continued until the death of John Brockbank in 1806. The Brockbank brothers employed Thomas Earnshaw who, by 1780, had produced two watches with 'detached escapements...' as well as developing his famous bimetallic compensation balance. Indeed, through the employment of the likes of Thomas Earnshaw, Robert Best and James Petto, the firm of Brockbanks became one of the most important makers of marine chronometers during the early post-Harrison era. In addition to marine chronometers Brockbanks also specialised in the making of clocks and watches for the Chinese and other export markets with several noted in Pagani, Catherine Eastern Magnificence and European Ingenuity: Clocks of the Late Imperial China. Amongst these was a 'magnificent Imperial gilt-bronze musical clock, signed by John Brockbanks and numbered No. 19 which formed part of a group ordered by a Guangdong official as a tribute to Emperor Qianlong; and a 'large gilt bronze vase of jewelled flowers set atop large rectangular base containing the clockface and having painted moving scenes, ca. 1770' by Brockbanks which is noted as being listed in Lu Zanzhen's Qinggong zhongbiao zhencang or Precious Collection of Qing Dynasty Palace Clocks on page 121.After the death of John, Myles Brockbank took brothers Samuel and Elliott Atkins into partnership consequently the firm became known as Brockbanks and Atkins from circa 1815. The present clock is unusual in that it plays tunes of Ottoman/Turkish origins rather than British compositions; and that the case has a japanned finish coloured to resemble red/brown tortoiseshell. The 'vine engraved' decoration to the backplate can be closely compared (except for the lack of a signature) to that of a clock by John Scott, London illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 361 (Figure 20.5). Condition Report: CONDITION REPORT AVAILABLE FROM THE DEPARTMENT ON REQUEST.Condition Report Disclaimer

Folio Society:- Eastern and Medieval history. A collection of three works presented in slipcases. The lot to comprising Myths of the Near East, A History of the Arab Peoples by Hourani, Lost City of the Incas by Hiram Bingham, 3vol Early Medieval Art and Civilisation, Gothic Art and Civilisation, and Byzantine Art and Civilisation presented mint in shrinkwrap, Inventions of the Middle Ages & Who's Who of the Middle Ages. All presented near fine in slipcase, with just light shelfwear. 8vo.

Islamic Art, Eastern Furniture, Syrian folding chair, of dark patinated wood, carved with intricate Islamic designs and MOP inlay

Noemi Conan Hello-Goodbye Acrylic medium, pigment, and oil marker on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor.   Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Noemi Conan The Ambassador, 2024 Smooth gel ink ball point pen and Ferrero Roche wrapper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor.   Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Noemi Conan Underneath a purple cloud, 2025 Acrylic medium and biro on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor.   Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ireland Wisdom Self portrait detail from Freaky Wisdom, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ireland Wisdom (b. 1996, Los Angeles, CA) was trained classically at the rigorous painting atelier at the Florence Academy of Art, which included three years of painting live models,7am-9pm daily, critiqued for technique and quality of mimicry. Wisdom has religiously continued in the tradition of live mode painting. For Wisdom, we are existing in the imagination of history, a collusion of time - we are in the 21st century and yet we have thousands of years of painting behind us. Painting becomes about putting it all together, imbuing old values, ancient iconography and style, with newness, creating a landscape in which all time periods could be found and new value systems formed. Wisdom has had solo exhibitions at Carlye Packer Los Angeles, CA; The Bowlish House, Somerset, UK; Kontemporary Residency, Seoul, Korea; and the Breeder Gallery, Athens, Greece. Her work has been included in group exhibitions at Felix Art Fair, Los Angeles, CA; Maison Lune, Los Angeles, CA; Eastern Projects, Los Angeles, CA; and KIAF Art Fair, Seoul, Korea. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ireland Wisdom Self portrait detail from Allegory of Painting, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ireland Wisdom (b. 1996, Los Angeles, CA) was trained classically at the rigorous painting atelier at the Florence Academy of Art, which included three years of painting live models,7am-9pm daily, critiqued for technique and quality of mimicry. Wisdom has religiously continued in the tradition of live mode painting. For Wisdom, we are existing in the imagination of history, a collusion of time - we are in the 21st century and yet we have thousands of years of painting behind us. Painting becomes about putting it all together, imbuing old values, ancient iconography and style, with newness, creating a landscape in which all time periods could be found and new value systems formed. Wisdom has had solo exhibitions at Carlye Packer Los Angeles, CA; The Bowlish House, Somerset, UK; Kontemporary Residency, Seoul, Korea; and the Breeder Gallery, Athens, Greece. Her work has been included in group exhibitions at Felix Art Fair, Los Angeles, CA; Maison Lune, Los Angeles, CA; Eastern Projects, Los Angeles, CA; and KIAF Art Fair, Seoul, Korea. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

ROMAN GLASS "GRAPE" VESSEL EASTERN MEDITERRANEAN, C. 3RD CENTURY A.D. mould blown glass, standing on a disc-shaped base, with concave bottom and central pontil mark, blown in three part mould, the piriform body with a pattern of stylised grapes below a collared shoulder and flaring mouth 11cm tall Private collection, United KingdomShlomo Moussaieff, London, United Kingdom, collection formed 1948 - 2000 For similar please see: The Metropolitan Museum of Art, New York, accession number 15.43.184

FIGURAL XHOSA PIPE 19TH CENTURY, SOUTHERN AFRICA carved wood and lead, the long slender stem terminating in a finely carved human figure serving as the bowl, the male is shown nude, the hands held into the sides, with lead inlay indicating the waistband, necklace and armlets 57cm long Wills Cigarette and Tobacco Company Pipe Collection, England (ref 1233)Galerie Valluet, ParisBernice & Terry Pethica Collection, United KingdomPublished:Klopper, Nettleton and Pethica, The Art of Southern Africa, The Terence Pethica Collection 2007, n° 105 “Because the vocational training offered by German missionaries working in the Eastern Cape area often included training in metal in ay techniques, many of the pipes produced by Xhosa-speaking carvers sport inlaid details depicting items of adornment like armbands and beadwork that are stylistically typical for the region. Although the display of genitalia in the depiction of mature men is uncommon, the fact that this is an older man is suggested both through the stocky proportions of the figure and the possible allusion to a headring. The heading, which was developed into an elaborate art form among some communities from the southern Natal region, may also have been used intermittently in the Eastern Cape. A mark of marital status in the Zulu kingdom north of the Thukela river, it was a variable index of age and status among several other groups in the area. Pipes with figurative bowls are likely to have been commissioned by men rather than women. The latter generally smoked from elegantly proportioned but comparatively simple, long-stemmed pipes.” (Klopper, Nettleton and Pethica 2007).

ABORIGINAL PARRYING SHIELD, EARLY-MID 19TH CENTURY VICTORIA AUSTRALIA carved hardwood, of triangular form, with an integral handle, the exterior adorned with zigzag motifs accentuated with white clay 93.4cm long Property from Penicuik House, Midlothian, acquired mid-19th century Artists from southeastern Australia traditionally crafted narrow and compact parrying shields, like the present example, which were employed in close combat to deflect blows from fighting clubs and other handheld weapons. These parrying shields were typically held by a handle positioned on the left side, with their narrow edge facing the opponent. Adorned with a series of engraved zigzag patterns, “a symphony of lines” (Jones, 2015, p. 74), these shields not only served a defensive function but were also rich in symbolic and cultural significance.Beyond their use in combat, these shields acted as visual expressions of identity and tradition, with their engraved motifs and geometric patterns, reflecting the distinct artistic styles of the region’s communities. The intricate carving of these shields demanded exceptional craftsmanship, with artisans meticulously shaping the hardwood and etching traditional patterns using age-old techniques. This artistic process was both practical and symbolic, highlighting the inseparable link between utility and art. Although little historical information survives regarding the symbolic meaning of the designs, it is believed that they may represent emblems tied to the owner’s group or dreamings, ancestral beings whose actions shaped the landscape during the Dreaming, a primordial period of creation.For a similar example collected in south-eastern Australia prior to 1839 please see: The British Museum, London, accession number Oc1839, 1012.3.

* JUNE CAREY RSW RGI (SCOTTISH b. 1942), PRESENCE limited edition etching on paper, signed, titled and numbered 3/10mounted, framed and under glassimage size 37cm x 30cm, overall size 59cm x 57cm Note: June Carey began her art education in the 1960s at The Glasgow School of Art. She has been exhibiting her work widely throughout Britain and abroad ever since. Her awards include The Scottish Arts Council 1998, McGrigor Donald Trust 1989, European City of Culture Woman 2000 (First Prize) 1990, Dundee District Council Purchase Prize 1991, British Council Assistance Grant 1992, The Hope Scott Trust Award 1993, Scottish Arts Club Award 1993, McDonald Orr Ltd 1993, Anne Redpath Award 1996, BP Aberdeen Assistance Grant 2002, Connell & Connell Sponsorship and in 2004, a Research Grant from the Scottish Arts Council, to visit India. June Carey's work can be found in the collections of Lady Thyne; Peter Gabriel, BBC Television, The Royal Bank of Scotland, The Scottish Arts Council, Oxford University, Teachers Whisky, Highland Region, Edwins Gallery Jakarta, Barclay Lennie Fine Art Ltd, MacTaggart & Mickel Ltd. Eastern General Hospital, McDonald Orr Ltd, Dundee District Council, Arts in Fife and Private Collectors at home and abroad.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE EYEMOUTH DISASTER limited edition lithograph on paper, signed and inscribed 'archive'framed and under glassimage size 62cm x 42cm, overall size 78cm x 58cmNote 1: The Eyemouth disaster was caused by a storm off the south-eastern coast of Scotland in 1881 in which 189 fishermen, most of them from the fishing community of Eyemouth, were drowned after being driven onto the treacherous Hurkur rocks that lie outside Eyemouth harbour bay. This picture portrays a young mother with her child and an older woman waiting, almost certainly in vain, for her husband to return. Eyemouth was not only associated in Bellany’s mind with disaster; It was also the home of his much loved grandparents.Note 2: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficult to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer) and in our auction of 9th November, lot 92, "Harbour" a 90 x 120cm oil by Bellany sold for £11000 (hammer). Most recently, "The Players" lot 50 in our auction of 28th March 2024 sold for £30000 (hammer).

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), WHITE SANDS OF THE WESTERN ISLES oil on canvas, signedframedimage size 67cm x 67cm, overall size 78cm x 78cm Note 1: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer).Note 2: Having lectured part-time for many years at Falkirk College, Pam retired and painted full-time from her studio in Torrance until her death in 2022. She was mostly influenced by the bright colours of the Scottish landscape. The white sands of the west coast are set against dramatic skies and the silhouettes of outlying islands stand like sentinels. Her interest in the use of strong colours may come from her origins in Africa. However, art school also taught her to see the colour and the work of the great colourists, from Titian to the Impressionists and has influenced her painting style over the years since graduation. Pam once said “Walking on empty beaches, alone with your thoughts, embracing the elements and hearing the sounds of the rhythm of nature can touch our souls. These are deeply spiritual moments when we often stop to consider the grand design of life itself. At these times it is easy to believe that there is a God and that the intention of life was to be all good. I love the Scottish landscape - it has all the form and textures that visually stimulate the senses. I am inspired not only by the scene but search out that "divine proportion"- aptly called and indeed the most pleasing to the eye. These thoughts follow me to the studio where I try to recreate not only the landscape but that spiritual moment. I take a long time to consider the design of my paintings and through the different stages correct and re-correct until, if not the "golden section" is reached, it has at least that same effect on my deep inner being. In my paintings you can feel the presence of mankind but rarely see them - the washing is hung, the lum is reeking, and the telegraph poles are talking. I pay tribute to the cultural past through the ancient dyke wall, the little harbours and the quaint crofts which are happily standing side by side with the grazing sheep. I use strong colour to interpret the drama of light in the landscape. I am inspired by the changing light sequences of the Western Isles and I have often been awestruck at witnessing what feels like a heavenly scene. Light features strongly in my work. Whether it be light bouncing off the waters of the Hebrides or the sunlit sands before an encroaching storm or sunlight moving across the landscape. It is ever changing, ever travelling. Light is synonymous with hope, a feeling of well being, joy and with God. I find myself always being drawn to the light in both my paintings and my life. That is my strength and my inspiration.

* KEN CURRIE (SCOTTISH b. 1960), TWO LINOCUTS FOR 'WAR' 'WHERE BOOKS ARE BURNT, PEOPLE ARE BURNT IN THE END' and 'HOWL WITH THE WOLVES (AFTER DUCHAV)'two linocut prints on paper, both signed, titled and dated '83both mounted, framed and under glassimage size 31cm x 31cm each, overall size 48cm x 48cm each Qty: 2Note: Ken Currie is renowned for his unsettling portrayal of the human figure. The artist's rich, luminous paintings depict mysterious rites, rituals, and quasi-medical practices, offering a meditation on violence in its many guises. Currie studied at the Glasgow School of Art from 1978-1983 and rose to attention within a generation of painters known as the "New Glasgow Boys" in the 1980s. In 1987, Currie completed a powerful series of large scale History paintings for the People’s Palace in Glasgow, commemorating the massacre of the Calton Weavers. Through the 90's deeply affected by humanitarian events in Eastern Europe Currie's works evolved, his focus shifting to confront ideas of mortality and corruption, both physical and moral. Over the last 10 years Currie's work has addressed the horrors of the contemporary world, without shying away from their brutality or grotesque nature. In 2009 Currie was commissioned to paint the theoretical scientist Peter Higgs following his receipt of the Nobel Prize, the painting now hangs at The University of Edinburgh. Ken Currie has exhibited widely internationally, including a 2013 solo exhibition at the Scottish National Portrait Gallery which also commissioned his painting Three Oncologists. Currie's work is held in many major public collections including Tate, London; Scottish National Gallery of Modern Art, Edinburgh; New York Public Library; Imperial War Museum, London; Campbelltown Arts Centre, New South Wales; Yale Center for British Art, New Haven; Gulbenkian Foundation, Lisbon; and the British Council, London.

An Art Deco silver compact, and a gold coloured novelty piano compact and three Far Eastern items

HENRI LEBASQUE (FRENCH 1865-1937) LA COIFFURE Oil on canvas Signed (lower left) 65 x 49cm (25½ x 19¼ in.)Painted circa 1905-1906.Provenance: Galerie du Drap d'Or, Cannes Private Collection, London (acquired from the above in 1971) Thence by descent to the late ownerExhibited: Probably, Paris, Beaux-Arts, Exposition de la Societe nationale des Beaux-Arts, 1909, no. 710 Literature: Denise Bazetoux, Henri Lebasque, Catalogue raisonné, vol. I, Paris, 2008, no. 655, illustrated p. 189The authenticity of this work has been confirmed by Madame Christine Lenoir and Madame de la Ville Fromoit. La Coiffure shows the artist's wife, Ella, and their eldest daughter, Marthe. It is one of the many depictions of domestic and family life painted by the artist throughout his career. These intimate portrayals capture a moment in time, a glimpse into the lives of those they illustrate. For Lebasque, it was one of his favourite subject matter and he frequently painted Ella, Marthe, his younger daughter Nono (christened Helene) and his son Pierre. Lisa Banner discusses the artist's choice of subject matter: "Lebasque's vision of life led him to concentrate upon intimate domestic scenes and close, interior compositions. He was hailed as the painter of "Joy and Light" by art critics and curators of the Louvre in his later life. But Lebasque's primary concerns were with simple expression of sensuous surface... He achieved an intimate manner of painting those scenes and people most dear to him, which was replete with his personal delight in form and color, heightened by his contact with fellow painters Matisse and Bonnard, but characteristically his own" (L. Banner, Lebasque, 1865-1937, San Francisco, 1985, p. 20).Lebasque arrived in Paris in 1886, studying under academician Léon Bonnat, receiving a traditional art education. He assisted Ferdinand Humbert with decorative murals at the Panthéon and his early work is characterised by its rather sombre palette. However, he quickly became fascinated with the Impressionist movement and sought to acquaint himself with artists such as Pierre Bonnard, Pierre-Auguste Renoir, Edouard Vuillard and Camille Pissarro. He developed lasting friendships with these painters and his work was undoubtedly influenced by their work, both in subject matter and style. In 1900, Lebasque settled at Lagny,-sur-Marne in the eastern suburbs of Paris. In 1903, alongside Matisse, Bonnard and Vuillard, amongst others, he was one of the founding members of the inaugural Salon d'Automne. The present work, which dates from a couple of years later, and shortly before the artist's first one-man show at the prestigious Galerie Georges Petit in Paris in 1907, reveals the influence of not only those artists, but also Signac and Seurat.Lebasque's handling of the paint is soft and sensuous. The short brush strokes echo his former interest in Pointillism whilst the interplay between the colours and the use of contrast with light and shadow show him moving towards a more gestural, intuitive style. Condition Report: The canvas is not relined. Ultraviolet light reveals light scattered retouching to the edge of the table and to the mother's hand. The paint is very slightly thin in the mirror area, otherwise, the work appears to be in very good original condition.Condition Report Disclaimer

SET OF ELEVEN VOLUMES "ORIENTAL CERAMICS: THE WORLD'S GREAT COLLECTIONS" STANDARD EDITION PUBLISHED BY KODANSHA INTERNATIONAL LIMITED, 1981 1981年 原函精裝英文《世界博物館藏東方陶瓷》（一套共11冊）All cloth bound and in original slipcases, including:Volume 1: Tokyo National Museum, TokyoVolume 2: National Museum of Korea, SeoulVolume 3: Museum Pusat, JakartaVolume 4: Iran Bastan Museum, TeheranVolume 5: The British Museum, LondonVolume 6: Percival David Foundation of Chinese Art, LondonVolume 7: Musee Guimet, ParisVolume 8: Museum of Far Eastern Antiquities, StockholmVolume 9: The Freer Gallery of Art, Washington D.C.Volume 10: Museum of Fine Arts, BostonVolume 11: The Metropolitan Museum of Art, New York each volume: 37cm x 27cm Private collection, England 英格蘭私人收藏

Collection of Decorative Boxes, Figurines, and CollectiblesThis assortment features a curated group of small collectible items, including boxes, figurines, and decorative objects. Key items and their attributes include:1. **Carved Wooden Box**: - Rectangular form with intricate geometric carvings, including star-like motifs. - Crafted from dark-stained wood, potentially hand-carved, indicative of early-to-mid 20th-century craftsmanship.2. **Octagonal Wooden Box**: - Polished surface with painted floral garland on the lid. - Equipped with a brass clasp, likely a mid-20th-century trinket or jewellery box.3. **Painted and Lacquered Boxes**: - A black lacquer box hand-painted with a snowy village scene, likely Russian or Eastern European. - A smaller painted box featuring birds and floral motifs in vibrant colours, suggestive of traditional folk art, possibly from India or Central Asia.4. **Mother-of-Pearl Box**: - Rectangular with a mosaic-style mother-of-pearl exterior, intended for trinket or jewellery storage.5. **Metallic and Enamel Items**: - A brass or bronze dog figurine. - Elephant figurines in brass and stone, some with red and green enamel or stone accents. - A small engraved cylinder or container with visible verdigris patina, likely vintage.6. **Airplane Model**: - A small metal model resembling a twin-propeller airplane, likely a mid-20th-century decorative or desk item.7. **Postcard**: - A vintage postcard addressed to "Mrs. R.C. Gibson," featuring a visible stamp and handwriting, likely from the mid-20th century.8. **Additional Decorative Items**: - Lacquer and painted boxes with floral and scenic designs. - A red leather coin purse or wallet and a blue fabric drawstring pouch.This collection showcases a mix of mid-20th-century and older handcrafted and decorative items, with examples of traditional art and design from various cultural origins, including Europe, South Asia, and the Middle East.

### Eclectic Collection of Vintage and Antique Items A diverse assortment of vintage and antique artefacts, dating from the late 19th to mid-20th century, comprising decorative, utility, and personal memorabilia. ### Description: 1. **Keepsake Boxes**: - An oval-shaped lacquered box with a painted jungle scene featuring a tiger, likely of Asian origin, early 20th century. - A rectangular brass box with a smooth, polished finish, possibly for cigars or stationery items. - A black and gold rectangular lacquered box with intricate patterns, referencing Middle Eastern or South Asian art. - A smaller octagonal brass box, decorated with engraved motifs, likely a snuff or trinket box. - A wooden box with marquetry inlay, depicting floral or scenic elements, possibly European, 19th or early 20th century. 2. **Framed Photographs**: - A rectangular military portrait of a uniformed man, likely WWI-era (1914–1918), housed in a black frame with an inscription partially visible. - An oval frame containing a sepia-toned photograph of a young child, mid-20th century. - A silver-toned ornate rectangular frame with visible text, “R.H.L.,” mounted with floral embossing. 3. **Metalware**: - A hammered metal hip flask, potentially dating to the interwar period. - A curved stainless flask and another with textured detailing, consistent with early to mid-20th-century designs. - A miniature brass desktop armillary sphere, decorative but inspired by scientific instruments of the 19th century. 4. **Books and Ledgers**: - A leather-bound book with gold gilt detailing, late 19th to early 20th century design. - A green leather ledger embossed with “Midland Bank Limited,” indicative of personal financial use, mid-20th century. 5. **Scientific Equipment**: - A brass field microscope with a black base, late 19th to early 20th century, with adjustable focus features. - A pair of black binoculars, early 20th century, likely military or recreational. 6. **Stationery and Desk Accessories**: - A wooden stamp with a polished handle, likely for sealing wax, 19th or early 20th century. - A circular leather tape measure case or pocket accessory, early 20th century style. ### Historical and Collectible Context: The collection showcases fine craftsmanship and proportions reflective of the late Victorian through to the mid-20th century. Military memorabilia, scientific instruments, and decorative items within the grouping suggest it originates from a private collector or estate sale.

Collection of Vintage Decorative Items This is a collection of antique and vintage decorative objects from the late 19th to mid-20th century. **Key Items:** 1. **Brass Menorah**: Seven-branched design, ribbed detailing, tapering arms, and a hexagonal base. Likely mid-20th century, associated with Jewish religious traditions. Approx. 20–30 cm in height. 2. **Carved Wooden Box**: Intricately hand-carved relief depicting animals amidst foliage. Rectangular with hinged lid. Likely from Eastern or folk art traditions, dating between mid-19th to mid-20th century. Estimated dimensions: approx. 20–25 cm length, 10–15 cm width, 5–8 cm height. 3. **Small Decorative Trinkets**: - **Donkey-shaped Pin Cushion**: Silver-toned with floral engravings and blue fabric pin cushion. Likely late 19th or early 20th century. - **Ship Figurine**: Nautical-themed item with fabric or metallic accents, potentially a pin cushion or decorative piece. - **Engraved Boxes**: Includes a match safe or card case with botanical engravings and a rectangular brass box. - **Miniature Figurines**: Bird and animal models, crafted in metal with enamel details, one resembling a parrot. - **Circular Metallic Items**: Possibly lids or decorative caps, featuring floral and radial engravings. 4. **Austin Nameplate**: Metallic script emblem associated with the Austin car manufacturer, likely mid-20th century automotive memorabilia. 5. **Open Wooden Box with Compartments**: Medium-sized, polished, divided into three sections. Possibly used for jewellery or small valuables. The collection, featuring brass, silver, and carved wood with patina and varied craftsmanship, reflects different cultural and temporal origins. Likely of interest to collectors or decorative purposes.

BOOKS, ART and ARCHITECTURE and others. Mostly Turkish and Islamic with other 'Eastern' examples.

Saupique, Georges-Laurent (French, 1889-1961); b. Paris FRANCE, La Depêche Maritime et Coloniale, 1930, an Art Déco gilt-bronze and enamel medal by G.-L. Saupique, robed female standing facing, head turned to left, holding a flag of France against a map of the Eastern Hemisphere, lion lying at her feet, rev. the packet boat Père de Foucault at a quay-side, view of port in background, edge impressed bronze and with foundry mark, 65mm, 106.87g (Ruedas 116; cf. BDW 18, 580). Extremely fine, rare £80-£100 --- Provenance: Bt A.C. Eimer June 2011. La Depêche Coloniale et Maritime, a newspaper published between 1893 and 1937, was in later years owned by the diplomat and financier Octave Homberg (1876-1941), whose name appears on the medal

Circa 8th century A.D. Sheet gold dome with braided filigree band to the rim, three vertical bands and three cells each set with a garnet cabochon, collar to the apex. Cf. applique in similar style of the Eastern Roman dagger from Malaja Perescepina, in Werner, J., Der Grabfund von Malaja Perescepina und Kuvrat, Kagan der Bulgaren, Munchen, 1984, pl.12, nos.4, 21, 24. 2.13 grams, 22 mm (7/8 in.). [No Reserve] From a continental collection prior to 2000. Acquired on the UK art market in 2010. Ex property of a UK gentleman.Eastern Roman daggers of 7th-8th centuries typically displayed gold ornaments embellished with garnets and filigree, visible on the specimens gifted by the Empire to foreign rulers, such as the famous Bulgarian leader Kuvrat.

1966-2012 A.D. Erik Hornung & Betsy Bryan - The Quest for Immortality: Treasures of Ancient Egypt - Washington, 2002, hardback with dustwrapper, 240 pp, colour images; Musée Jacquemart-André - Le Crépuscule des Pharaohs - Bruxelles, 2012, hardback with dustwrapper, 256 pp, colour images; Annie Caubet & Geneviève Pierrat-Bonnefois - Faiences de l'Antiquité, de l'Égypte a l'Iran - Paris, 2005, card covers, 206 pp, colour images; Metropolitan Museum of Art - Guide to the Collections: Ancient Near Eastern Art - New York, 1966, card covers. 40 pp, monochrome. 4.7 kg total, 15 x 23 - 25 x 29.5 cm (5 7/8 x 9 - 9 3/4 x 11 5/8 in.). [4, No Reserve] Property of a North West London gentleman.

1986-1998 A.D. Michael Spink - Islamic Jewellery catalogue - London, 1986, card covers, colour images; Metropolitan Museum of Art, - Ancient Near Eastern Art - New York, n.d., card covers, colour and monochrome images; Prudence Harper et al. - The Royal City of Susa - Ancient Near Eastern Treasures in the Louvre - New York, 1992, hardback with dustwrapper, 316 pp, colour and monochrome images, maps; Annie Caubet and Marthe Bernus-Taylor - The Louvre - Near Eastern Antiquities - London, 1991, hardback with dustwrapper, 96 pp, colour and monochrome images; K.K. Sarvestani - The Land of Mehr & Mah - Tehran, 1998, hardback with dustwrapper, English & Persian texts, colour images. 4.2 kg total, 21 x 22.5 - 24 x 30 cm (8 1/4 x 8 7/8 - 9 1/2 x 11 7/8 in.). [5, No Reserve] Property of a North West London gentleman.

1979-2005 A.D. John Curtis - Ancient Persia - London, 1989, card covers, 72 pp, colour and monochrome images; Richard Ettinghausen & Ehsan Yarshater - Highlights of Persian Art - Boulder, 1979, hardback with dustwrapper, 391 pp, monochrome images; John Boardman - Persia and the West - London, 2000, hardback with dustwrapper, 255 pp, monochrome images; N. Nafisi - Pearl of Persia - Persepolis - Tehran, 2005, hardback in slipcase, 151 pp, English and Persian text, colour images; Dominique Collon - Ancient Near Eastern Art - London, 1995, card covers, 247 pp, colour and monochrome images. 4.9kg total, 21.5x21.5 - 20x27cm (8 1/2x8 1/2 - 7 7/8x10 5/8in.). [5, No Reserve] Property of a North West London gentleman.

1966-2007 A.D. Metropolitan Museum of Art - Guide to the Collections: Ancient Near Eastern Art - New York, 1966, card covers. 40 pp, monochrome; Musée d'Art Genève - Reflets du Divin - Geneva, 2002, card covers, 159 pp, monochrome images; Marsha Hill (ed.) - Gifts for the Gods - Images from Egyptian Temples - New York, 2007, hardback with dustwrapper, 240 pp, colour images; Edna Russmann - Egyptian Sculpture - Cairo and Luxor - London, 1989, hardback with dustwrapper, 230 pp, colour images. 4.46 kg total, 15.2 x 22.7 - 26 x 33.5 cm (6 x 8 7/8 - 10 1/4 x 13 1/8 in.). [4, No Reserve] Property of a North West London gentleman.

20th century A.D. F. Spuhler - Islamic Carpets and Textiles in the Keir Collection - London, 1978, hardback with dustwrapper, 251 pp, colour and monochrome; Hadji Baba Ancient Art, Art of the Eastern World, London, 1996, hardback with dustwrapper, 210 pp, colour; Wilfried Seipel - 7000 Jahre Persische Kunst - Kunsthistoriches Museum Wien, 2000, card covers, 342 pp, colour. 4.8 kg total, 22.5 x 28 - 24.5 x 28 cm (8 7/8 x 11 - 9 5/8 x 11 in.). [3, No Reserve] Property of a North West London gentleman.

13th-6th century B.C. Comprising triangular types with thick midrib, heater-shaped, leaf-shaped, 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. 340 grams total, 9.6-14.3 cm (3 3/4 - 5 5/8 in.). [14] Acquired 1980-2015. Ex Abelita family collection.One category of the represented arrowheads 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 triangular. Another form has no barbs, but it has a prominent midrib extending to the tang, and a narrow leaf-shaped blade.

Early 2nd millennium B.C. Bifacial, pillow-shaped with cuneiform text to one face and one edge; one corner absent. Cf. cuneiform text tablet now in the Metropolitan Museum of Art, New York, under accession no.86.11.282. 47 grams, 53 mm (2 1/8 in.). [No Reserve] Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. 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 early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples.

Early 2nd millennium B.C. Bifacial, pillow-shaped with cuneiform text to both broad faces; two corners absent. Cf. cuneiform text tablet now in the Metropolitan Museum of Art, New York, under accession no.86.11.282. 122 grams, 77 mm (3 in.). [No Reserve] Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. 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 early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples.

Circa late 2nd millennium-6th century B.C. Comprising heater-shaped, leaf-shaped, barbed-and-tanged, and other types. Cf. Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar; see also Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, nos.467, 471, for some of the represented types. 280 grams total, 4.1-10.8 mm (1 5/8 - 4 1/4 in.). Acquired 1980-2015. Ex Abelita family collection.A number of arrowheads of this type have been excavated in Luristan and in the South-Caspian region. Many parallels are from a burial context, but a large hoard of them was found in a non-funerary context. This type of arrowhead was in use from the late 2nd millennium B.C.

Eastern Roman Period, circa 3rd-5th century A.D. Penannular in form with square bezel, nine gilt bosses. 4.58 grams, 23.23 mm overall, 18.16 mm internal diameter (approximate size British N 1/2, USA 6 3/4, Europe 14.35, Japan 13) (1 in.). [No Reserve] Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of Surrey, UK, gentleman.

Eastern Mediterranean, 1st century B.C.-1st century A.D. Flat, thick-walled bowl, mould-made with 22 large ribs to the outer face below the rim extending to the middle of the base; reassembled from fragments. Cf. Whitehouse, D., Roman Glass in The Corning Museum Of Glass, Volume One, New York, 1997, pp.261-265, for type. 140 grams, 11.1 cm wide (4 3/8 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Ex Martin Wunsch, New York 1980s-1990s. Accompanied by a copy of an Art Loss Register certificate no.S00098335.

Late 2nd-1st millennium B.C. With prominently curved guard, which extends out from the ricasso of the blade and partly frames the hilt, thick flat midrib extending slightly above the ricasso where it held the hilt. See similar swords in Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.99-100. 466 grams, 53 cm (20 3/4 in.). Acquired 1980-2015. Ex Abelita family collection.The hilt of such swords was made separately, and unfortunately is nearly always missing from the archaeological records. Similar daggers had a northern Iranian background and excavated examples have been recorded from the South Caspian Area from Tomadjan and Ghalekuti.

12th-11th century B.C. Short dagger with leaf-shaped blade, with a slightly pronounced midrib, expanded handle terminating in an equine protome. Cf. Muscarella, O.W., Bronze and Iron, ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, no.389, for the type. 294 grams, 25.2 cm (9 7/8 in.). Acquired 1980-2015. Ex Abelita family collection.Miniature weapons such as this one apparently functioned as models for actual weapons and may have had a cultic purpose. The hilt of this dagger, if effectively used, should have been flanged for the filling with organic material. Unfortunately, only a few miniature tools and weapons have been found in the archaeological context of the graves, which does not offer clear elements of understanding and comparison.

2nd-early 1st millennium B.C. An Aramean rectangular dish with sloping sides, an inward-facing goat-head at each corner; handle formed as a recumbent lion biting the rim; each beast with recessed eyes to accept inserts; ropework band to the underside. Cf. Settgast, J.,Von Troja bis Amarna, The Norbert Schimmel Collection, Mainz, 1978, no.146, for a vessel with similar lion heads; Moorey, P.R.S., Bunker, E.C., Porada, E., and Markoe, G., Ancient Bronzes Ceramics and Seals, The Nasli M. Heeramaneck Collection of Ancient Near Eastern, Central Asiatic and European Art, Los Angeles, 1981, cat.1305, for similar vessel with lion head biting the rim, carved in steatite. 698 grams, 22 cm (8 3/4 in.). [A video of this lot is available to view on Timeline Auctions Website]Windermere Collection, Germany, 1960s. American collection, Phillips, 1960s-1980s. with Fortuna Fine Arts, 2012. From the S.M. collection, 2012-2016. From an important London collection, 2016. Private collection. Accompanied by a copy of an Art Loss Register certificate no.S00118561. 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.12164-218579. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.The Aramean civilisation produced superb specimens of vessels, in which the lion, symbol of royal power, was one of the most relevant decorative motifs. Vessels of this typology are already known from the Anatolian culture of Kültepe, the first Hittite capital, since the Middle Bronze Age. Also the culture of Ugarit (Ras Shamarra) produced cups with similar lion heads, in a period of 1500 and 1300 B.C.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each piece undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: www.timelineauctions.com/stories/our-vetting-process/15/TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.

1st millennium B.C. Carved in the round with gusseted rim, shallow bowl with carved hand and arm detail to each side and cruciform segmented bands to the underside; lion-head carved in the round to the rear with segmented mane, sockets to the eyes and gaping mouth with hole for pouring liquids through the tubular junction to the rear, repaired. For discussion of similar pieces c.f. Merhav (ed.), A Glimpse into the past: The Joseph Tembach Collection, Jerusalem, 1981, p.62, fig.37; and Settgast, J., Von Troja bis Amarna, The Norbert Schimmel Collection, Mainz, 1978, no.146, for a vessel with similar lion heads; Moorey, P.R.S., Bunker, E.C., Porada, E., and Markoe, G., Ancient Bronzes Ceramics and Seals, The Nasli M. Heeramaneck Collection of Ancient Near Eastern, Central Asiatic and European Art, Los Angeles, 1981, cat.1305, for similar vessel with lion head biting the rim, carved in steatite; Fortin, M., Syrie, terre de civilisations, Québec, 1999, p.195, no.160, for a lion’s head shaped cup from Ugarit. 357 grams, 11.3 cm (4 1/2 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]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.12193-222189.

Uruk III, circa 3200-3000 B.C. Lentoid in section with design to one face in three registers: left, large panel with impressed grid, square and spray; right, two smaller panels with hatching and geometric forms. Cf. Salvatore Monaco, Archaic Cuneiform Tablets from Private Collections, CUSAS 31, for other comparable tablets. 26.2 grams, 55 mm (2 1/8 in.). From an important collection formed before 1988. 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. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12543-231889.

Circa 7th-6th century B.C. In the form of a bowl with one part of the rim raised and surmounted by spikes decorated with concentric rings; flanked by two large aviform supporters, each with one long curving wing to the outer side of the bowl and legs placed one in front of the other in advancing pose; obverse decorated with a raised legend in South Arabian script intersected by a quadruped with long tail, possibly a lion, rearing on its hind legs; accompanied by a display stand. For similar items of circa mid-1st millennium B.C. date, see Metropolitan Museum of Art (ref.49.71.2) and one of circa 8th-3rd century BC, Sabaean, South Arabia Bronze, British Museum (ref.132909). Sabina Antonini de Maigret and Christian Julien Robin, ‘Un originale incensiere in bronzo da Nashshān/al-Sawdā, Yemen (VII-VI secolo a.C.)’, Semitica et Classica, XVI (2023), pp. 261-266. 9.17 kg total, 28 cm including stand (11 in.). [A video of this lot is available to view on Timeline Auctions Website]Reputedly from the temple of ʿAthtar dhu-Garb in al-Sawdāʾ (ancient Nashshān) in the Jawf of Yemen. Previously in the private collection of Shlomo Moussaieff (1925–2015), Israel. Thence by descent. Acquired from the above 18 May 2021. Accompanied by Israeli export license. Accompanied by an Art Loss Register Search Confirmation number S00224376 with IADAA Certificate. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12483 -229826. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.The animals represented do not fit with any common South Arabian models, and it is possible they are based on interpretation of foreign designs. The legend is a dedicatory text in Maʿīnic, and reads (from right to left): ' kʿ ṯt {animal} r/ḏ Grb k-ʿṯtr ḏ-Grb' (For {the god} ʿAthtar duh-Garb ) Ashtar, or Attar, was an ancient Semitic god of war, associated with the morning star, the gazelle and thunderstorms. As a thunder-god he was also associated with fertility, represented by rainstorms. It is likely this incense burner was dedicated to his temple in al-Sawdā, where it would have been used in his ceremonial rites. Al-Sawdā was known in ancient Yemeni inscriptions as 'Nashan' and was described as a great city with a robust wall. Nashan dates back to the 8th century BC (715 BC). In its first phase, it was an independent sovereign state, later joining the Ma’in state. It was a rich city, with commercial, religious and industrial success. In a later phase, it joined the kingdom of Sheba with the rest of the Ma’in state. It was known as one of the most important cities in the Ma’in Kingdom for the manufacture of metal vessels and the remains of ores of different minerals have been found there. But the great importance of the city was due to the fact that it was the city of temples; it retains the remnants of several examples described as some of the most beautiful temples in the entire Arabian Peninsula, amongst which is a group known as the “daughters of Aad” (temples of Attar), from which this incense burner likely came. South Arabia, called Arabia Felix (Fortunate Arabia) by the ancient Romans, was the southern fringe of the Arabian Peninsula. It owed its wealth to its position on the trade routes, in particularly those that supplied incense and myrrh. The production and export of incense was a fundamental part of the thriving economy of ancient South Arabian, and the variety of surviving incense burners is testament to this. Incense was of central importance to many of the ceremonies of the religions of the ancient world, burned to honour the gods and the dead. The kingdoms of South Arabia held a tight monopoly on these trades. Large metal incense burners such as this were doubtless the most valuable items of their type but few survive, making this an important example. The importance of the manufacture of bronze objects in ancient South Arabia can be seen from archaeological finds and inscriptions; bronze artefacts occur in South Arabian archaeological sites as often as donations of statues in dhb (the ancient South Arabian term for ‘bronze’) are recorded in South Arabian inscriptions. There are a great number of zoomorphic statues and statuettes, which in addition to being decorative, were probably used in some instances to represent divine hypostasis or to allude symbolically to the dedication of the temple. Shlomo Moussaieff (1925-2015) owned one of the world’s largest private collections of Near Eastern antiquities, surpassing those of many major museums. He collected widely for most of his life with a large expanse of interests, but mostly focussing on ancient artefacts. The Israel Museum and the Bible Lands Museum both displayed items from his collection, including elegant glassware fashioned by Ennion, the greatest of the Greek glassmakers, of which Moussaieff owned more than either the Sorbonne or the British Museum. Bar-Ilan University in Tel Aviv awarded Moussaieff an honorary doctorate in gratitude for his gift of rare Jewish mystical texts (kabbalah) and in 2003 the Smithsonian Institution in Washington, D.C., mounted a special exhibition consisting solely of seven of the world’s rarest and greatest diamonds displayed in a single vitrine. One of these diamonds, a nearly perfect red diamond of more than 5 carats, is known as the 'Moussaieff Red'.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each piece undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: www.timelineauctions.com/stories/our-vetting-process/15/TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.

6th-7th century A.D. Piriform in profile with flared foot, thick ropework collar above the shoulder, socketted rim; repoussé frieze depicting three nude dancing girls in vigorous motion with draped swags of cloth and holding cymbals; between, a peacock, small boy with a vase and another holding a dove; old collector's labels to underside. 481 grams, 18.7 cm (7 3/8 in.). [A video of this lot is available to view on Timeline Auctions Website]Private collection, 1960s. Accompanied by a report by Professor François de Blois, Affiliated Researcher at the Faculty of Asian and Middle Eastern Studies, University of Cambridge. Accompanied by a positive scientific statement from Striptwist Limited, a London-based company run by historical precious metal specialist Dr Jack Ogden, reference number 170163. 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.12482-229825. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each piece undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: www.timelineauctions.com/stories/our-vetting-process/15/TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.

3rd-1st century B.C. Chalcidian or Illyrian variant (Caucasian type), constructed from two halves with the right side overlapping the left, embossed ram horns on the brow, with a profile image of a stag to both sides; hinged cheek-pieces with regularly disposed holes to the outer edges; some restoration. Cf. Rabinovich, B. Z., Trudy Otdela istorii pervobytnoi kul’tury Gosudarstvennogo Ermitazha (Works of the Department of history of prehistoric culture of the State Hermitage) I, Leningrad, 1941, pp. 99-171; Erlikh, V. R., Rossiiskaia Arkheologiia (Russian Archaeology) (3), 1996, pp.176-179 (in Russian); Chernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998; Shevchenko, N.F., Zaitsev, Yu. P., Mordvintseva V. I. in Vestnik drevnei istorii (Bulletin of Ancient History) (1), 2011, pp.115-152 (in Russian); Симоненко А. В., 'Шлемы сарматского времени из Восточной Европы (Sarmatian Age Helmets from Eastern Europe)', in Stratum Plus, no. 4, 2014, pp.249-284; Negin, A.E., Negin, A. E., 'Pozdnerimskie shlemy s prodol'nym grebnem', in Germania-Sarmatia II, Kaliningrad-Kursk, 2010, pp.343–58; Hixenbaugh, R., Ancient Greek Helmets, a complete guide and catalogue, New York, 2019, nos.H303-H304. 696 grams, 31cm high (9 1/8 in.). [A video of this lot is available to view on Timeline Auctions Website]Acquired from on the European art market, mid-1980s. Private collection, Oxford, UK. From the collection of a London doctor. 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.12339-228100. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.The cultural interchange and the military contacts between the Nomads of Kuban and the Hellenic peoples allowed the Sindo-Meothic, Scythian, or Sarmatian noblemen to equip themselves with such beautiful defensive equipment. The helmet finds its closest parallel in a specimen published by A.E. Negin, belonging to the Puskin Fine Arts Museum of Moscow, originally in the collection of S. Karakowskij (Negin, 2010, p.354 no.6; Hixenbaugh H304). Some of the helmets of this type were modified according to the nomadic (Scythian or Sarmatian) taste, being decorated with religious elements, like the deer.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each piece undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: www.timelineauctions.com/stories/our-vetting-process/15/TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.

5th-6th century A.D. Comprising: a spatha-type two-edged tapering blade, lentoid in section with sloped shoulders and short tang pierced by an attachment rivet for the grip; traces to both faces of the blade of wooden fibre from the scabbard; edges lightly notched but substantially complete; the lower guard rectangular in plan and scaphoid in section with inset garnet cloisons, triangular along the lower row and heart-shaped above, rectangular at the top, with small rectangular slivers at each end; accompanied by the upper roundel of the pommel, set with four garnet cloisons. Cf. Menghin, W., Das Schwert im Frühen Mittelalter, Stuttgart, 1983, p.335, for cloisonné on guard; Zasetskaïa, I.P., Kul’tura Kotchovnikov iujnorusskikh stepeï v gunnskuïu epokhu (Culture of the nomads of the southern Russian steppes in the Hun Era), Saint Petersburg, 1994; Lebedinski, I., Armes et guerriers Barbares au temps des grandes invasions IVème au Vième siècle après J.C., Paris, 2001, pp.117ff., swords from Loutchistoïé, Novohryhorivka, Bátaszék, Jakuszowice, Szirmabesényo, Ártánd, Horgos; Miks, C., Studien zur Römischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; Kazanski, M.M., Barbarians at the borders of the Eastern Roman Empire (in Russian), Simferopol, 2024, figs.7, 12, pp.20, 23, p.31, pl.36, for similar cross-guards. 954 grams, 84.5 cm (33 in.). From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. 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 no. 12357-225921.These ‘ceremonial’ swords (in reality widely used in battle) with an inlaid guard are according to Kazanski Late Roman in origin. The cloisonné decoration was probably linked with the production of particularly ornamented swords in the ateliers of the Roman capital of Constantinople. This typology of weapon was not only produced as a gift for foreign chiefs allied to the empire, but it was also adopted by the Imperial army, and reserved for the Imperial officers, who were often of Germanic or Asiatic origin.

Circa 1750 A.D. Each door a single board with graduated scalloped upper edge, horizontal wooden bars to the reverse, hand-forged iron hinge knuckles and D-section leader to left door; primed with tempera on both faces and painted on the obverse, each with a bottle-green field, blue-grey frontage with vermillion upper storey and gilt roof; Left Door: portion of city wall with tall, narrow building behind, balcony at the upper level with King David standing holding an unfurled scroll, wearing a gilt crown, vermillion tunic and blue mantle; before the wall a winged angel Gabriel holding a frond, wearing a draped mantle over ankle-length chiton and sandals; above, red painted legend 'BOUNA'; to the right edge, a D-section leader painted with red, white and blue diagonal stripes; Right Door: portion of city wall with tall, narrow building behind, balcony at the upper level with King Solomon standing holding a scroll and wearing a gilt crown, similar tunic and mantle to the other; dove descending towards Mary standing before the wall in front of a cushioned throne, with gilt nimbus around her head; red painted legend 'V E S T I R E' above; rare. Cf. Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999, fig.69, for similar; cf. also Baboș, A., ’Royal Doors of Maramures beyond their appearances’ in Museikon, a journal of Religious Art and Culture, 6/2022, pp.263-294, for similar doors and discussion. 13.8 kg total, 132 x 34 cm each (52 x 13 3/8 in). [2] Property of a London, UK, gentleman collector. Accompanied by a copy of a Romanian export licence. 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.12466-229954.The 'royal doors' (Greek: Ωραία Πύλη) mark the entrance to the iconostasis (wooden screen hiding the altar) in an Eastern Orthodox church.

4th-3rd century B.C. Deep sidewall, handle formed by a horizontal oval loop with offset central section and semi-circular plaque adorned with stylised pendant palmette; slightly offset rim. Cf. Maierovskii III Burial-mound no. 4/2002, Burial no. 3B, Moscow, State Historical Museum, inv. no. 112873, list Б 2078/77, in Treister, M., 'Parthian and Early Sasanian 'Imports' in the Burials of the Nomads of Eastern Europe (2nd Century BCE-3rd Century CE)' in Choref, M.M., Materials in Archaeology and History of Ancient and Medieval Crimea, Moscow, 2018, pp.118-210, fig.4, 1-3, for similar. 775 grams, 32.9 cm (13 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Ex P.M. Suter, 1970s-1994. with Cahn Auktionen AG, 3 November 2012, no.184. Accompanied by a copy of an Art Loss Register certificate no.S00069492.

2nd-4th century A.D. Ellipsoid in plan with chamfered rim to obverse with womb with key and roots; above womb the figures of Isis, Anubis, Chnoubis, and Nephthys (from left to right); reverse with facing Medusa mask with wings to the brow below a coiled snake, spiders and other items. Cf. similar item in Gordon, R., 'Archaeologies of Magical Gems' in Entwistle, C., Adams, N., Gems of Heaven, recent research on engraved Gemstones in Late Antiquity, c. AD 200-600, London, 2011, pp.39-49, pl.5; see also BM inv.no.EA56076, for similar gemstone. 2.84 grams, 24 mm (1 in.). From the collection of magical objects of the late Mr A. Cotton, Brockenhurst, Hampshire, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12354-225280.During the Graeco-Roman period, the traditional genres of Egyptian or Near Eastern temple magic gems, particularly protective magic against demons, snakes and scorpions, seemed largely to have disappeared, and new genres became dominant, for different types of divination (direct visions of god, bowl divination, dream sending, Homer oracles), malign magic, aggressive (mainly erotic) magic, magic for personal success and attractiveness. This type of amulet was intended to aid childbirth and avoid illness and dangers for its attendant.

Roman, 1st century A.D. or later. Shallow bowl with rounded rim, the outer face with dragged and marvered trails forming a rosette. See The Corning Museum of Glass, accession number 79.1.40, for type; cf. Goldstein, S.M., Pre-Roman and Early Roman Glass, in the Corning Museum of Glass, Corning-New York, 1979, no.545, for a similar decorated shallow ribbed bowl; fragments of similar bowls in nos.504-505. 42.2 grams, 63 mm (2 1/2 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) S.S.H., South France, 1950s. Accompanied by a copy of an Art Loss Register certificate no.S00133093.Such decorated shallow bowls were mainly produced in the Eastern Provinces of the Roman Empire, and some scholars proposed Alexandria as the workshop. They were realised with mosaic glass technique, mould-pressed and tooled.

4th century A.D. Piriform in profile with flared neck and rolled rim, dimple base. Cf. Lightfoot, C.S., Ancient Glass in National Museum Scotland, Edinburgh, 2007, p.121, no.292, for the type. 36 grams, 11.1 cm (4 3/8 in.). [No Reserve] (For this specific lot, 5% import VAT is applicable on the hammer price.) Ex Helene Wackernagel-Wenk (1901-1979), Switzerland; thence by descent.These small jars were used as storage vessels. Their typology shows similarities with some material from Northern Black Sea region as well as with other glass finds found in Eastern Mediterranean settlements due to the decreasing variety of forms starting from the Late Roman Period, with whom they have similarities in colour, shape and typology. Helene Wackernagel-Wenk was a distinguished collector of art and antiquities, celebrated for her refined taste and commitment to preserving cultural heritage. Her collection encompassed a wide range of artefacts, reflecting her deep appreciation for the artistic and historical significance of ancient civilizations. Known for her meticulous curation, Wackernagel-Wenk’s legacy endures through the exceptional pieces that once formed part of her esteemed collection. Artefacts associated with her name are highly valued for their provenance and quality.

8th-10th century A.D. Shoe-shaped belt plaque with incised lambda on the disc, D-shaped head with pierced lugs to reverse and incised circle containing 'Φ /ΖωΗ/C'. 6.38 grams, 31 mm (1 1/4 in.). [No Reserve] Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of Surrey, UK, gentleman.The strap end bears a reference to the words of Jesus: John, 8:12 and 14.6 (I am the light of the world…I am the way and the truth and the life). It is highly possible that the belt was that of an important ecclesiastic Eastern Roman prelate.

Peter Kinley (1926 - 1988)  Black and White Sketch Oil and pencil on paper Signed top left  Framed W32cm x H38cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Purchased from Austin / Desmond Fine Art Limited  Sold Christies Modern & Contemporary Paintings , South Kensington 28th June 1991, Lot 5 - purchased direct from the artist in 1956 Note: Peter Kinley was born in Vienna, his father was Jewish and the family was forced to leave after the Anschluss in 1938. He was sent to Lytham St  Anne’s and was fostered by a Catholic family; his parents were interned in France. He  studied at Düsseldorf Academy and later at St Martin’s School of Art,  where he also taught. His knowledge of Islamic art and architecture led, in the  early 1960s, to an interest in other Eastern cultures, especially Indian. He  began to collect Indian paintings and artefacts, and Indian systems of colour  and composition bore a correspondence to his own search for a language in which  objects (people, houses, aeroplanes) could be expressed with all the clarity of  an image, but with no loss of subtlety. He left London in 1970 to teach at Bath Academy, and his work  began to reflect his more rural existence. He saw his own work as being  figurative, not in the 19th Century sense of realism or naturalism, but as based on observation of the subject.