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Ca. AD 800 - 1000. A rare early medieval pendant made from gilded bronze. The pendant, crescent-moon in form, is adorned with two ravens facing each other in a stylised zoomorphic pattern. The raven is decorated in three different sections with twisted, parallel, and everted lines. This piece speaks to the distinctive cultural milieu of the eastern Viking world and its contact with the Byzantine Empire and Islamic Middle East. Size: 40mm x 50mm; Weight: 10g Provenance: Private London collection. acquired on the European art market prior to 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 200 - 400 . A cylinder seal made of rock crystal. It depicts a fighting scene between soldiers using knives and spears, wearing helmets and armour, alternating with recumbent animals. The seal is pierced vertically with a drill. Size: 25.4mm x 12.7mm; Weight: 7.4g 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. 1200 - 900 BC. A cylinder seal made out of carnelian. It depicts a frieze of mythological rampant creatures fighting against riders on horses under the stars in the sky. The seal is pierced vertically with a drill. Size: 28.1mm x 11.8mm; Weight: 6.9g 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. 3100 - 2900 BC. A cylinder seal made of translucent stone. It depicts a frieze of mythological running animals made in a stylised manner, in the forest represented by tall trees under stars and the moon in the sky. The seal is pierced vertically with a drill. Size: 22.8mm x 12mm; Weight: 5.68g 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. 1400 - 1100 BC.A Near Eastern black stone stamp seal, square flat face, back rising to pierced tip with grooves around the lower edge. Design: palm tree and scorpion.Size: 22.8mm x 22.2mm; Weight: 7.8gProvenance: 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. 600 - 400 BC. A cylinder seal made out of purple and cream stone. It depicts a frieze of standing and recumbent stags with long curved horns and flies in the sky. The seal is pierced vertically with a drill. Size: 25mm x 15,4mm; Weight: 8.7g 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.

A GROUP OF REFERENCE BOOKS AND CHINESE WORKS OF ART. To include, Carved Lacquer in the Collection of the Palace Museum, Hardback in slipcase; Chinese Carved Lacquer, by Derek Clifford, Hardback, 1992; Chinese Furniture, by Michel Beurdeley; Chinese Furniture, by Craig Clunas, Victoria and Albert Museum, Far Eastern Series. (4) Used condition. Tear to cover of Chinese Furniture by Beurdeley.

Bronzed saddle horse figure possibly chinese origin, Art Nouveau style patterned box, Antique Japanese Meiji period vase, Woven brass box with tapering feet and middle eastern Turkish copper Dallah

A RARE SPIRIT MASK 'BARAK' OR 'YAMBURAI PARAK' EASTERN SEPIK PROVINCE, NEW GUINEA, LATE 19TH - EARLY 20TH CENTURY Wood, remains of polychrome, modern stand mask 45cm high, 35cm deep Provenance: UK Art Market Ex Private collection Literature: 'New Guinea Art, Masterpieces from the Jolika collection of Marcia and John Friede, Fine Arts Museum San Francisco, vol. 2, pg. 89. ill. 39 Originally these masks were brightly coloured. However, after many years of exposure within the ceremonial houses the colour faded away through use and weathering. The mask was traditionally worn by a dancer whose plant fibre costume completely covered him, and was associated with an important male mythical being. The Barak (sometimes spelled 'barag' or 'brag') were situated to the west of the Sepik River. The Sepik River was first explored in 1885 by Otto Fisch. He wrote of the region's cultural diversity and beauty of the villages that he saw on the banks of the river over which towered the 'men's houses'. In the early 20th century collectors of primitive art were astounded at the sheer quantity of marvellous objects to be found in this region and the extraordinary inventiveness of the forms in this difficult swampy terrain.

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), ST CYRUS oil on canvas, signed, titled versoframed and under glassimage size 89cm x 89cm, overall size 110cm x 110cmNote: 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).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.

* ALASDAIR GRAY (SCOTTISH 1934 - 2019), FROM AN EASTERN EMPIRE limited edition silkscreen print on paper, signed, dated 2006 and numbered 29/90framed and under glassimage size 37cm x 25cm, overall size 60cm x 41cm Note: 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 English 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'.

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), ROCKS oil on canvas, signed, titled label versoframed and under glassimage size 64cm x 64cm, overall size 83cm x 83cmNote: 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 "West Coast Sunset" (lot 47, The Scottish Contemporary Art Auctio of 24th October 2024) a 61 x 61cm oil on canvas by Pam Carter sold for £3600 (hammer).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.

A LARGE EASTERN PIERCED METAL TWIN HANDLED PEDESTAL CLIP, H 24 cm, together with an Eastern brass circular dish with easel, also an Elkington Department of Science & Art charger / centrepiece (3)

A modern folk-art painted eastern European style narrow chest of seven drawers. Width 49cm, height 103cm, depth 36cm.

SS Great Eastern; Rare Transatlantic Documentary Telegraph Cables 1866 two pages of handwritten (possibly facsimile produced onboard the SS great eastern) cables signed and certified by Willoughby Smith (1828-1891), Chief Electrician of the Telegraph Construction Company. The cables are headed "The Great Eastern Telegraph Saturday Sept 8 1866" and state "The Following News Has Been Received Through the 1865 Cable Since Its Recovery on 2nd Inst to Present Date." Willoughby Smith then continues to record a number of cables received with the location of the Great Eastern on each day including;2 Sept Cholera abating in LondonCable works splendidly 17 messages received during the hour.Fenian agitation in America. Three regiments shortly leave for Canada and two gunboats for lakes.3 Sept:Cavalry, infantry and artillery are being sent hastily to Canada to prevent threatened outbreak.Telegraph offices now reopened in Frankfurt after the war.St Petersburg, cholera spreading, Emperor left for Moscow 30th August. Deputation of Russian peasants waited on Mr Fox, Amercian Ambassador, to offer congratulations in the name of whole Russian peasantry.Revolution in Cordorba governors driven away.4 SeptLondon papers have leaders on great triumph of raising cable.Emperor Napoleon has been very unwell but betterRussia dissatisfied with recent turn in continental affairs5 SeptGreat bribery disclosures at Lancaster, Totnes, Yarmouth and Reigate.Prussia quitely taking possession of annexed states, Bismark's policy of unity of Germany very popular.Further handwritten cables for 6 Sept to 8 Sept with cetificate from Willoughby Smith " I hereby certify that the above telegrams were sent rhoguh the 1865 Atlantic Cable since its recovery on the 2nd Sept 1866 signed Willoughby Smith, Chief Electrician of the Telegraph Construction Company."With the manuscript is a contemporary sample of undersea telegraph cable.Note; there were several attempts to lay a transatlantic undersea cable from 1857 onwards, in 1865 the cable was lost on the seabed but recovered in 1866 by the SS Great Eastern with Willoughby Smith and other company representatives onboard and present for the re-connection amongst great excitement and expectation, the scene being portrayed in a painting by the British artist Robert Dudley (1826-1900) now in the Metropolitan Museum of Art in New York.IIn this document, Willoughy Smith is clearly anxious to demonstrate that the cable is working well with a variety of telegrams received on board the Great Eastern from various locations in the days immediately after the re-connection. document ina fragile state frayed at edges with some tears and staining

Circa 2750-2334 B.C. Formed as a tapering column with flared base, shallow slot to the upper face, horizontal bands of scales and foliage. See the Metropolitan Museum of Art, New York, Ancient Near Eastern Art, no.39, for similar. 2.69 kg, 19 cm (7 1/2 in.).[A video of this lot is available to view on Timeline Auctions Website]Ex London, UK, gallery, 1971-early 2000s. with Kallos Gallery, London, UK.

Pleistocene Period, 2.6 million-11,700 years B.P. A high quality pair displaying beautiful brown, green and cream colouring, from a young female Mammuthus primigenius; accompanied by custom-made display stands; some restoration. See Guide to the Elephants (Recent and Fossil) in the British Museum (Natural History), BM, 1922, pp.35-47, for discussion. 24.85 kg total including stands, 151-159 cm long (outer edge) (59 1/2 - 62 5/8 in.). [2]From the Siberian Tundra. Ex Arctic Antiques, Germany. From the private collection of Commander Michael J Norman OBE AFC RN, Somerset, UK. Accompanied by a copy of a certificate of origin from Germany. Accompanied by a copy of the original purchase invoice (17,838.00 Euros). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate no. 12353-225019.Both tusks were recovered from the same place in the Siberian permafrost in 2016. The left tusk weighs an impressive 6.2 kg and the right tusk 6.02 kg. The mammoth lineage branched from the Asian elephant around 6 million years ago, and later on the Woolly Mammoth, Mammuthus primigenius, evolved in eastern Siberia. Woolly mammoths, being slightly smaller than living African elephants, were foragers and ate grass, as well as small, nutritious flowering plants that flourished in the environment where they lived. They may also have used their curved tusks to dig through snow and eat plants that other foragers couldn't get to.

Circa AD 10-20?. 'Troccos Bull' type. Augustan style head to left, [CVNO before], pellet-in-ring beneath chin (partially shown) / Bull butting to right, pellet-in-ring above, TR[OCC] and pellet-in-ring (partially shown) below, pellets around. ABC 2996; Van Arsdell 1985-1; SCBC 341. 1.34gr, 15mm, 10h. ().Good Fine.Acquired on the UK art market before 2000. Property of an Essex, UK, gentleman.Trocc(os?) or Trocc(ios?), formerly read as TASC by Mack and Van Arsdell, is probably an ancient British personal name which may mean something like 'crippled' or 'lame' or perhaps 'cut short' as in the word 'truncated. Of the eight provenanced examples of this bronze unit four were found in Essex, three in Suffolk. Was Trocc(os?) an early associate of Cunobelinus who ruled briefly in the eastern part of his kingdom? He could have been an influential relation of Tasciovanos or Dubnovellaunos, possibly reformed, dwarfish of physically disabled (hence his unflattering name), who was initially tolerated by Cunobelinus and then deposed (ABC, note p. 142).

1st millennium B.C. or later. With intaglio standing figures each with discoid head surmounted by a crescent, supporting a circular panel with beaded outline, four crouching figures with arms raised holding maces and spears radiating from a a central guilloche motif, interstitial radiating bars motif (fire) to each corner. Cf. Teissier, B., Ancient Near Eastern Cylinder Seals in the Marcopoli Collection, Berkeley, 1984, item 97, for type. 11 grams, 28 mm (1 1/8 in.).Ex 'S' collection, London, UK. 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 lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12423-225425.

5th-4th century B.C. With a curved tapering body, the protome formed as a mythical horned lion with folded wings, mouth with a hole and large hollow eyes to accept inlay, the short, dense mane marked with vertical grooves. Cf. Rawlinson, G.M.A., The five great Monarchies of the Ancient Eastern World, III vol., New York, 1881; Carter, M.L., Goldstein, S., Harper, P.O., Kawami, T.S., Meyers, P., Splendors of the Ancient East, Antiquities from the al-Sabah collection, London, 2013; Ebbinghaus, S., Feasting with gods, heroes, and kings, Cambridge, 2019, p.116, no.3.24, for similar specimen; cf. also a similar rhyton in the Miho Museum, Japan, inv.no. H-17.5 D-10 W-5.2. 748 grams, 16 cm (6 1/4 in.).[A video of this lot is available to view on Timeline Auctions Website]From a private family collection formed since the early 19th century, thence by descent. Property of a New Zealand legal professional. 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.12325-223713.

2nd millennium B.C. Pillow-shaped with impressed cuneiform text to one broad face and one long edge; repaired. Cf. cuneiform text tablet now in the Metropolitan Museum of Art, New York, under accession no.86.11.282. 31 grams, 44 mm (1 3/4 in.). [No Reserve]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.

Uruk III, circa 3200-3000 B.C. Tongue-shaped plaque, lentoid in section with segmented layout to each face, impressed pellets and geometric figures; supplied with a display stand. Cf. Salvatore Monaco, Archaic Cuneiform Tablets from Private Collections,CUSAS 31, no.143 (CDLI P464182) for type. 155 grams, 10.3 cm (251 grams total, 11.2 cm high including stand) (4 in. (4 3/8 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. Ex J.L. collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12418-226307.

AD 893-927. IC XC to right and left of bust of Christ facing with nimbate cross behind head, pellet in each limb of nimbus cross / CVMധN(sic) ЄN XPIC {RA}CIΛЄ POMЄധN, the emperor standing facing, wearing crown with cross and pendants, divitision and loros, holding long cross set on globe with his right hand and globus cruciger with his left. Translation: Simeon, by the grace of Christ, King of the Romans. See Entwistle, C., ‘The Early Byzantine weights from Kunszenmarton, Hungary’ in Budapest, 67 (2016), pp.287-300, nos.2, 5, for Eastern Roman examples. 47 grams, 38 mm (1 1/2 in.).Acquired on the London art market in the late 1980s-1990s. From the family collection of an East London, UK, gentleman.

2350-2150 B.C. With low-relief journey scenes: Shamash returning from the underworld; Shamash between mountains and Gates of Heaven, possibly some re-engraving. Cf. Teissier, B., Ancient Near Eastern Cylinder Seals in the Marcopoli Collection, Berkeley, 1984, item 97, for type. 30.18 grams, 35 mm (1 3/8 in.).Ex 'S' collection, London, UK. 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. Accompanied by a copy of a previous illustrated catalogue page. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12419-225429.

Circa 9th-12th century A.D. A miniature tzikourion comprising a crescentic blade with long neck, flared socket and leaf-shaped blade to the rear; gilt surface with reserved florid and tendril detailing, stylised cross to the flared socket. See similar forms (iconography) in Nicolle, Arms and Armour of the Crusading Era, 1050-1350 AD, volume II, Islam, Eastern Europe and Asia, London, 1999, figs.33p &118c, pp.355 and 373; for battle specimens from the territories of Eastern Roman Empire cf. Yotov, V., Въоръжението и снаряжението от българското средновековие (VII-XI век), (Arms in Bulgaria in medieval period, 7th – 12th century), Варна 2004, no.637; Gorelik, M., ‘Arms and Armour in South-Eastern Europe in the Second Half of First Millennium AD’ in Nicolle, D. (ed.), A Companion to Medieval Arms and Armour, Oxford, 2002, pp.127-148, pl.XL-8, nos.33 ,34 (Khazar Khanate equipment). 28.88 grams, 10.9 cm (4 1/4 in.).[A video of this lot is available to view on Timeline Auctions Website]Private collection formed in Europe in the 1980s. Westminster collection, central 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 no. no.12340-225024.It is possible that this axe was used as a status symbol for officers or their family. The axe was known to be a symbol of the Varangian Guard who protected the emperor.

12th-14th century A.D. A group of flat-section Mordvinian type brooches. See Sedov, B.B., Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, pl.XLIV, item 11. 72.7 grams total, 55-59 mm (2 1/8- 2 1/4 in.). [5, No Reserve]Acquired on the European art market since the early 2000s. From the private Northern Ireland collection of R.M.This type of brooch belongs to the typologies of the omega brooches. It was probably used by Ugro-Finnic people to fasten the shirt at the neck or to attach other lighter garments. These brooches evolved to become very elaborate, with dangling springs from the edges, and were often worn in pairs, particularly on female garments. In this late Viking period their coins demonstrated Russian and Eastern Roman influences in their art and jewellery.

12th-14th century A.D. A group of flat-section Mordvinian type brooches, decorated to the trapezoidal plates with raised pellets, reserved scroll tendrils, hatching and other ornament. See Sedov, B.B., Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, pl.XLIV, item 11. 91 grams total, 52-57 mm (2 - 2 1/4 in.). [8, No Reserve]Acquired on the European art market since the early 2000s. From the private Northern Ireland collection of R.M.This type of brooch belongs to the typologies of the omega brooches. It was probably used by Ugro-Finnic people to fasten the shirt at the neck or to attach other lighter garments. These brooches evolved to become very elaborate, with dangling springs from the edges, and were often worn in pairs, particularly on female garments. In this late Viking period their coins demonstrated Russian and Eastern Roman influences in their art and jewellery.

Two cast metal elephants with turquoise detailing together with two Middle Eastern art enamelled copper pots, H 7cm

A collection of costume jewellery. To include a Sporrong & Co Stockhold gilt metal and enamel bracelet, two Art Deco silver brooches, a Middle Eastern white metal and enamel pendant with hook fitting, Victorian gold plated locket pendant, etc.

A collection of silver and other earrings, a eastern costume necklace and earring set, further diamante costume jewellery and an Art Nouveau pendant and chain. 

A BOX AND LOOSE RAILWAY INTEREST, to include a cased set of fifty Danbury Mint National Railway Museum 'Great British Locomotives' pin badges (glass of case cracked), and two loose badges, with a tin of information cards, two reprinted Railway map posters: '1959 Pictorial Railway's Map of Yorkshire' and 'A Map of Yorkshire', the latter from a 1949 original drawn for British Railways, volume 8 no 2 of the 'Orient-Express Magazine' from the 1990s, publications to include two 1935 issues of 'Railway Wonders of the World' parts 6 and 41 (6 has a loose cover), 'Modern Wonder' vol 3 no 59 dated July 2, 1938, a 1970s 'Rail Museum and Historic York' brochure, '1861 Bradshaw's Handbook', 'Steam Colour Portfolio: Eastern & North Eastern Region' vol 1 by Keith R Pirt, BLP 2005, three volumes of Poster to Poster: Railway Journeys in Art (vol 1, 3 and 5), etc (1 box + loose) (sd)

Eastern Viking, Ca. AD 600 - 900. A wooden anthropomorphic idol crafted with simplified features. They were used as objects of worship, representing gods or goddesses, and were thought to bring good luck and fortune to those who possessed them. The idols were also used in rituals and ceremonies as offerings to the gods. Size: L:100mm / W:35mm ; 15g Provenance: Property of a European collector; formerly in a collection of German ambassador F. von Pourtalès, early 20th c., bought in St. Petersburg in 1910s. After his death in 1928, in family’s possession in Germany, bought by German dealer in 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 2350 - 2150 BC or later.An Akkad III cylinder seal depicting a battle scene with a curly haired hero. Surrounding this, there is a man, a bull, multiple lions, a buffalo, and a horned deity. There is a longer cuneiform inscription in two columns.Size: 34mm x 24mm; Weight: 39gProvenance: 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. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Original vintage WWI Propaganda Poster - In Belgium the Belgians are Hungry (En Belgique Les Belges Ont Faim). Poster designed by Theophile Alexandre Steinlen (November 10, 1859 – December 13, 1923), a Swiss-born French Art Nouveau painter and printmaker. Born in Lausanne, Steinlen studied at the University of Lausanne before taking a job as a designer trainee at a textile mill in Mulhouse in eastern France. In his early twenties he was still developing his skills as a painter when he and his new wife were encouraged by the painter François Bocion to move to the artistic community in the Montmartre Quarter of Paris. Once there, Steinlen was befriended by the painter Adolphe Willette who introduced him to the artistic crowd at Le Chat Noir that led to his commissions to do poster art for the cabaret owner/entertainer, Aristide Bruant and other commercial enterprises. The poster image depicts a group of six Belgian people standing holding pails. They include a woman wearing a black shawl, standing centre, and an old man with a long moustache in the background. This sits next to text which translates to - Artistic tombola to raise funds for feeding the people of Belgium. Every five-franc ticket entitles the holder to: A - a souvenir, a special work: either an engraving by the painter Firmin Baes or a medal charm by the sculptor Devreese. B - the tombola draw of gifts of applied art (lacework, embroidery, paintings on vases, silks, etc., the handiwork of Belgian women. Published by L'Alliance Franco-Belge and printed by I Lapina Imprimerie, Paris. Large size. Fair condition, paper losses, tears, staining, creasing, foxing. Country of issue: France, designer: Theophile Steinlen, size (cm): 128x94, year of printing: 1915.

A CHENCHU HUNTRESS AND HER COMPANION, PROVINCIAL MUGHAL OR DECCAN, INDIA, 18TH CENTURY gouache with gold on paper, the woman wearing leaf skirt, her companion removing a thorn with his arrow, a town amidst hill scenery in the distinance, cursive inscription in nastaliq on the reverse, old label from London Picture House, Delhi, New Delhi and Simla on the back of frame, framed, 26.3 x 17.3cmThe Chenchu are a tribe mostly concentrated in the Eastern Deccan known for hunting and gathering, and living off the forests where they are settled. They were a popular subject in painting in the 18th century along with the Bhil tribes of Central and Western India. See Christie's London, 27 October 2022, lot 95, for a more elaborate scene with Chenchu hunters. See also Metropolitan Museum of Art, New York, inv. no. 30.95.174.20 for another scene with hunters identified as Bhils.

A Richard III plaque, a novelty bottle holder, two Eastern puppets, an Art Deco stapler, Papyrus pictures, etc. **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR IN-HOUSE POSTING AND PACKING**

A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script,18cm high, in pack-horse basket (25).Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32. A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La. Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding. The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK. 二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏  

A set of twenty-four Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script, 18cm high, in pack-horse basket (24).Provenance: Peter WainCf. A set from the same hoard was exhibited: "Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976", National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十四尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏

A CHINESE CARVED GREY STONE PANEL FRAGMENT carved in low relief with equestrian figures and horse drawn chariots, 38 by 64 cmProvenance:PC Lu Gallery Hong Kong.Acquired by Peter O'Toole, 5 January 1964.Works of Art from the Collection of Peter O'Toole, Katherine House Gallery, Marlborough, 13 May - 24th June 2017. Peter O'Toole (1932 – 2013) was an English stage and film actor. He attended RADA, the Royal Academy of Dramatic Art, and began working in the theatre, gaining recognition as a Shakespearean actor at the Bristol Old Vic and with the English Stage Company. In 1959 he made his West End debut in The Long and the Short and the Tall, and played the title role in Hamlet in the National Theatre's first production in 1963. Excelling on the London stage, O'Toole was known for his "hellraiser" lifestyle off it.Making his film debut in 1959, O'Toole achieved international recognition playing T. E. Lawrence in Lawrence of Arabia (1962) for which he received his first nomination for the Academy Award for Best Actor. He was nominated for this award another seven times.His interest in Chinese Art emerged from his time spent on location filming ‘Lord Jim’ in 1964, the locations including Hong Kong and Mainland China and again when he played the tutor in 'The Last Emperor'.Footnote: The present panel is stylistically close to the Eastern Han (25-250AD) wall carvings found in the Wu Family Shrines in Shandong Provence, China; see Cary Y Liu, Recarving China's Past, New Haven and London: Yale University Press, 2005, p. 204. 青石雕板碎片

Two fragments of Middle-Eastern blue and white tilesdecorated in underglaze-blue with intricate designs of floral shrubs issuing curling tendrils, the largest 19.5cm wide (2)Provenance: the late Oliver Watson (1949-2023), Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford and the School of Oriental Studies, London Chips, scratches and losses

7 books on Russian icons and art - USSR Early Russian Icons, The Kremlin Art Treasures, Icons, The Art of Byzantium, The Mystical Theology of the Eastern Church, Leo VI's Concept of Divine Monarchy and Russische Ikonen book of prints

NAZEM AL JAAFARI (SYRIA 1918-2015) ‡ LA VIEILLE VILLE DE DAMASsigned and dated in Arabic Nazem Al Jaafari 1984 lower leftoil on canvas64 x 48cm; 25 1/4 x 18 3/4in66.5 x 50.5cm; 26 x 19 3/4in (framed)Property from a Private Collection, LondonProvenanceAgial Gallery, BeirutAcquired from the above by the present owner in 2012Born in Damascus, Nazem Al Jaafari graduated from the Department of Painting, Faculty of Fine Arts, Cairo in 1947, as part of a group of students that were sent to study in Egypt under the French Mandate. After he returned to Syria, he worked as an art teacher in local high schools and eventually at the Faculty for Fine Arts in Damascus.Al Jaafari was one of the pioneer impressionists of Syrian painting, the style remaining the most popular movement in Syria both before and after the Second World War. His works embody the passing of time, a snapshot of Syrian life. His sophisticated understanding of the transient nature of light and shadow, paired with a loose handling of paint, creates an extraordinary assimilation of Western technique and traditional Middle Eastern subject matter.

THE DE ROTHSCHILD VASES: AN IMPORTANT PAIR OF CARVED IMPERIAL PORPHYRY VASES FRENCH, 18TH/19TH CENTURY Each in Egyptian porphyry with waisted neck flanked by dolphins, the gadrooned body embellished with a frieze carved with rinceaux and male masks, on a waisted socle and square plinth 53cm high, 34cm wide, bases 14.3cm square Provenance: Vase 1: Almost certainly the De Rothschild Collection, thence to an important Swiss collection, by repute, Alain Moatti, possibly acquired from Galerie Camoin Demachy, Paris Vase 2: The De Rothschild Collection, Exbury House, Hampshire Literature: P. Malgouyres et al., Porphyre: La Pierre Pourpre Des Ptolemées Aux Bonaparte, Paris, 2003 D. del Bufalo, Porphyry: Red Imperial Porphyry. Power and Religion, Turin, 2012 Quarried exclusively at Mons Porphyrites in the Eastern Desert of Egypt, Imperial porphyry has been prized since antiquity for its remarkable hardness and lustrous purple colour, which bears a close resemblance to that of a particularly expensive pigment developed by the Phoenicians, known today as Tyrian dye. Several literary sources from antiquity speak of Alexander the Great's partiality to this colour, of his custom of wearing purple robes and of decorating his palaces with porphyry. The heirs to his throne in Egypt, the Ptolemies, are said to have continued this tradition, but it is only with the Roman Emperors Nero and Vespasian, towards the end of the first century A.D., that the association of porphyry with secular and religious power became established in Western civilisation. Rome, the seat of the Empire, is where centuries later ancient porphyry statues, slabs, columns and vessels were excavated, as a result of the Renaissance period's renewed interest in classical art and architecture. The potent symbolism of porphyry, with its strong imperial connotation, thus assumed an additional level of meaning, as an emblem of Renaissance courts' erudition, fascination with antiquity and aspiration to parallel ancient Rome's splendour. By the seventeenth and eighteenth centuries, porphyry was avidly collected by powerful figures such as the Medici Grand Dukes of Tuscany, the French cardinals Richelieu (1585-1642) and Mazarin (1602-1661), and the 'Sun King' Louis XIV of France (1638-1715), who had a buying agent in Rome for his acquisitions. The interest in porphyry was such that it prompted artists to rediscover the art of carving it, a practice for which ancient Roman columns and other fragments were used, since Mons Porphyrites in Egypt had become inaccessible, a fact that further enhanced the rarity and value of works in this material. The presence in Rome of influential figures such as Cardinal Richelieu introduced to Paris the taste for beautifully carved porphyry, which arguably culminated during the reign of the Sun King Louis XIV. In his residence at Versailles, the Gallery of Mirrors boasts to this day one of the most extraordinary collections of porphyry objects, comprising both vases and busts. Whilst no prototype has been identified for the design of the present pair of vases, the dolphin handles are emblematic of the Grand Dauphin (1661-1711), the son of Louis XIV. The zoomorphic handles follow in the tradition of Roman porphyry vases of the 17th century, such as the vase carved by Giovanni Battista Pozzi around 1684, now in the Wallace Collection (inv. F362). Another single porphyry vase, featuring a lid surmounted by a dolphin, was recently sold by Sotheby's Paris (16 June 2020, lot 4, EUR 200,000 including buyer's premium). These vases were almost certainly together as a pair whilst owned by the De Rothschild family in the 19th/20th century, whereafter they were separated, one remaining in the Rothschild collection until the 21st century, whilst the other found its way to an Important Private collection in Switzerland. After purchasing the vases separately, the vases have now been reunited, after decades apart, by Tomasso. Two further pairs of nearly identical form have been auctioned in the twentieth century at Christie's New York (26 October 1994, lot 108) and at Sotheby's Monaco (14 June 1997, lot 125). Condition Report: With wear as per age and use. In the flesh, the pink inclusions are slightly stronger in colour than main catalogue images suggest. Some mild variance to design by the very nature of the material. Natural flaws to material, some edge wear and minor losses. All noses to masks with small holes. First vase- quite shallow depth to internal aperture, dark marks around top rim, small area of old restoration to one cheek of mask and with natural flaw running through it up diagonally, fritting around top collar of socle base, spot restoration to corners of plinth, underside with distinctive square cut access to stem support, looks to possibly have had internal stem remounted for better stability. Second vase, deeper internal aperture- this has been suggested as being as a result of prior use as lamp base, old knock to top edge, small loss of leaf below handle, area of restoration to socle, plinth with old break and repair. Edge and small corner chips to base. Provenance: First vase: Almost certainly the De Rothschild Collection, thence to an important Swiss collection, by repute, Alain Moatti, possibly acquired from Galerie Camoin Demachy, Paris Second vase: The De Rothschild Collection, Exbury House, Hampshire Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on requestCondition Report Disclaimer

A NEAR EASTERN BANDED AGATE BOWL 3RD - 1ST CENTURY B.C. 4cm high, 5.4cm diameter Condition Report: Natural flaws, polishing marks, small hairline to base Purchased Bertolami Fine Art London 24/06/2016 - Lot 49  Condition Report Disclaimer

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 

Wu Guanzhong (Chinese, 1919-2010)Boats on a lake 湖上帆景Oil on canvasSigned and datedFramed油畫畫布 鏡框款識：吳冠中 八八 於左下方 Wu Guanzhong was a contemporary Chinese painter widely recognized as a founder of modern Chinese painting. He is considered to be one of the greatest contemporary Chinese painters. Wu's artworks had both Western and Eastern influences, such as the Western style of Fauvism and the Eastern style of Chinese calligraphy. Wu had painted various aspects of China, including much of its architecture, plants, animals, people, as well as many of its landscapes and waterscapes in a style reminiscent of the impressionist painters of the early 1900s. He was also a writer on contemporary Chinese art.Measures approx. 34cm x 34cm (13.5" x 13.5")Acquired by current owner in Hong Kong.

Map and Posters Collection - Vintage Posters of 125 HST in 1977, LMS Leander 1974, V2 'Green Arrow', A4 Sir Nigel Gresley 1977, King George V 1971, Also Silver Jubilee art-deco style poster and North Eastern Railway Map shown from 1915. Conditions: Generally Excellent.

* ALASDAIR GRAY (SCOTTISH 1934 - 2019), FROM AN EASTERN EMPIRE limited edition silkscreen print on paper, signed, numbered 28/90, dated 2006unframedimage size 37cm x 25cm, sheet size 57cm x 38cm Note: 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 English 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'.

* JUNE CAREY RSW RGI (SCOTTISH b. 1942), VISION AHEAD artist's proof lithograph on paper, signed, titled and numbered A/Pmounted, framed and under glassimage size 55cm x 46cm, overall size 86cm x 73cmNote: 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.

* ELIZABETH BLACKADDER DBE RA RSA RSW RGI DLitt (SCOTTISH 1931 - 2021), FIFESHIRE FARM artist's proof lithograph on paper, signed and inscribed 'Artist's Proof' mounted, framed and under glass image size 51cm x 68cm, overall size 69cm x 87cm Note: Fifeshire Farm (1960) speaks to Elizabeth Blackadder’s fascination with nature that began during childhood. The wild and wind-beaten trees relate to the artist’s dislike of ‘effete’ garden flowers, and subsequent preference for a ‘laissez-faire’ gardening style, with resultant neo-Romantic landscapes a frequent subject of her work. Blackadder first experimented with printmaking whilst studying at Edinburgh in the early 1950s. She proceeded to produce various lithographs in the 1960s with the Curwen Studio, during a period of renewed interest in the medium. This particular print was made in the same year as Italian Landscape (1960) – a lithograph that shares the restrained colour palette and depiction of harsh-black trees. Recipient of a travel scholarship, Blackadder created these prints following nine months in Italy, beginning from summer 1955. The bare winter trees of Tuscany appealed to the artist, and this continued interest is apparent in Fifeshire Farm. Similar forms are transposed to depict the harsh shrubbery of Fifeshire (or Fife), an area of eastern Scotland and birthplace of her husband and travel partner, John Houston. Tate Britain hold a copy of Fifeshire Farm. Note 2: Dame Elizabeth Blackadder is widely recognised as one of Scotland's most significant twentieth-century artists. Born in Falkirk, she studied at Edinburgh College of Art under the tutelage of Sir Robin Philipson and William Gillies and lectured at the college from 1962 until her retirement in 1986. After graduating in 1954, Blackadder was awarded both a Carnegie Travelling Scholarship and an Andrew Grant Postgraduate Scholarship. She used these funds to spend three months travelling through Yugoslavia, Greece and Italy, where she researched classical and Byzantine art. This founded a passion for travel which has continued through her prolific career. Elected as a member of the Royal Scottish Academy in 1972 and the Royal Academy in 1976, she was the first woman to become a member of both institutions. Sixty-six of her works are known to be held in UK public collections.

* JUNE CAREY RSW RGI (SCOTTISH b. 1942), GIRL WITH A BIRD artist's proof colour etching on paper, signed, titled and numbered A/Pframed and under glassimage size 18cm x 20cm, overall size 41cm x 44cm 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.

* 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 English 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'.

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), WEST COAST SUNSET oil on canvas, signedframed and under glassimage size 61cm x 61cm, overall size 76cm x 76cm Note: 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).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.

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.