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▲ Ben Nicholson OM (1894-1982) 'Kos' signed, inscribed and dated 'NICHOLSON'/April 59/(Kos)' on the backboard, pencil and wash 48 x 35.5cm Provenance: With Galerie Charles Lienhard, Zurich; Sotheby's, London, 6 December 1984, lot 658; Sotheby's, London, '20th Century British Art', 13 July 2007, lot 4; the property of a private collector. Exhibited: Château des Rohan, Strasbourg, 'La Grande Aventure de l'Art du XXe Siècle', June - September 1963, catalogue no. 191. Ben Nicholson's extensive travels throughout his life significantly influenced his artistic development. In 1959, he embarked on a Swan Hellenic tour to Greece, which included numerous stops. This journey proved to be particularly inspiring for Nicholson, as he was deeply moved by the simplistic beauty of Cycladic figurines and Greek architecture. Nicholson's experiences in Greece enriched his artistic vision, leading to a more sculptural approach in his compositions. He began to incorporate subdued colours and a controlled palette, reflecting the serene landscapes and architectural forms he encountered. This influence is evident in the present work and also inspired his pure-white carved reliefs, which became a hallmark of his style. Condition ReportFramed: 75 x 62cm The drawing is mounted on a board. A little time staining with a small brown mark to the top edge, centre left, possibly tape residue (?). The wash is faint. A tiny fold in the extreme lower right corner. Please see additional images. Not viewed out of glazed frame.

Each side of the vase depicts an owl facing right, framed by laurel sprigs. The owl in Ancient Greek art began to acquire its popularity in Attica from the mid 6th century BC, and by the late 6th century the bird had firmly become the goddess Athena s cherished companion. It was believed that the owl had apotropaic powers against the evil eye, as well as being a symbol of good fortune and wisdom.Owl skyphoi were produced in the 5th and 4th centuries in Athens and then in Southern Italy; they have been found across the Mediterranean. The little vessels became so popular that they were given their own name, a glaux . H:6.5cm, W:13.5cm Chip and a broken at rim leading to a crack at the body Collection of Gabriele und Wolfgang Leiner, and thence by descent, From M??nzen Und Medaille AG, Basel, 26th Aug 1976.

youthful life-sized head with heavy-rimmed almond-shaped eyes and dimples at the corners of the lips, the hair arranged in short thick curls, with smaller curls clustering around the nape of the neck and the ears; The chiselled hair seen on this head is similar to that found on monumental statues of around 350 B.C. attributed to Skopas and also the early work of Lysippos. The intense expression of the face is similar to a life size marble head of a youth in the Metropolitan Museum of Art, acc. no. 11.91.1, which is suggested as resembling the style of the works of the 4th Century sculptor Skopas. For another similar head to the above lot dating to the 4th Century B.C., see M. Comstock & C. Vermeule, Sculpture in Stone, the Greek, Roman and Etruscan Collections of the Museum of Fine Arts, Boston, Boston, 1976, p. 44, fig. 62. The Boston head has been compared to the head of the Lysippic Agelaos at Delphi, circa 335 B.C.Size: H:19.5cm, With Stand H:32cm. The actual size of this head is 19.5cm, from the lowest section at neck. The 14.5cm on card is measued from chin at front. Provenance: Collection of Gabriele und Wolfgang Leiner, and thence by descent. Acquired in 1969 in Alanya for 1000 Deutschmark. Gabriele and Wolfgang Leiner are known for their historical research and editorial work, particularly on topics related to Wrttemberg history and historical documents from the region. They are the editors of Gottfried Tobias Ritter s Stuttgarter Tagebuch 1791

After Giorgos Loannou Greek (1926-2017) 'Aubrey II', limited edition no.33/165, Pop Art giclée on canvas, 73cm x 73cm, (with COA)

This exquisite Royal Doulton figurine, Leda and the Swan, is part of the Myths and Maidens collection. Crafted from fine bone china, this limited edition piece was sculpted by Robert Jefferson and is a striking representation of the classical Greek myth. The figurine showcases a beautifully hand painted Art Deco-inspired Leda, elegantly posed with the swan, set against a vibrant floral and gilded base. The legend of Leda and the Swan originates from ancient Greek mythology. According to the myth, Zeus, the king of the gods, transformed himself into a swan to seduce or seek refuge with Leda, the queen of Sparta. This union resulted in the birth of Helen of Troy, Clytemnestra, and the twins Castor and Pollux. The story has been a popular subject in art and literature for centuries, symbolizing themes of power, transformation, and destiny. This figurine captures the elegance and mystique of the myth, making it a coveted piece for collectors of Royal Doulton and classical mythology-inspired porcelain. Includes original box.Artist: Robert JeffersonIssued: 1982Dimensions: 10.25"HCountry of Origin: EnglandCondition: Age related wear.

Ca. 5th - 4th century BC. A gold signet ring with an oval bezel engraved with a standing ram facing right. The body is rendered with fine detailing on the fleece, while a coiled snake appears beneath its legs. The circumscription reads, "Kali Damasio" in Greek letters. The shank is rounded and solid, expanding slightly at the shoulders where it meets the bezel.Size: D:18.54mm / US: 8 1/2 / UK: Q 1/2; Weight: 12.63gProvenance: Prince collection, 1990s-2014; Ex. Kai Schmidt collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 350 BC.A bell krater, painted in the red-figure style, with white/yellow details on one side. The iconography of the piece reflects important stories and symbolism in the life of the Greek colonies. On Side A is a draped seated maenad holding a large patera in her right. She is facing back to a second maenad, who also holds a pyxis in her right hand; both are wearing a long kiton and short sakkos on the hair; the facial features are marked. Side B features three draped male figures standing in profile. In addition to this iconography, the vessel is adorned by an extensive decorative program: a laurel leaf wreath beneath the rim, an intricate pattern of stylised palmettes below the handles with fretted bands surrounding each handle's termini, and a lower register underscoring the figural scene comprised of waves.For similar see: The British Museum, Museum number 1978,0414.33, Trendal A.D., Red Figure Vase of Apulia, 1978, Plate 57, n. 1. Size: 375mm x 310mm; Weight: 3.2kg.Provenance: Property of a central London gallery, previously acquired on the Dutch art market; previously acquired on the Belgian art market; Hugo Lievens, Brussels 1982. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. 500 - 300 BC. A collection of three bronze vessels, each with a carinated body that transitions into a corseted neck culminating in a slightly flared rim. The angular profile is defined by a pronounced ridge encircling the midsection, separating the upper and lower sections.For similar see: Richter G. M. A., Greek, Etruscan and Roman Bronzes, Metropolitan Museum of Arts, 1915, Cat. 606, 607, 608.Size: 90-100mm x 70-80mm; Weight: 365gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 400 BC - AD 1400.This collection of Greek and later jewelry features a variety of impressive pieces. It includes a gold applique depicting a sun made with concentric circles and adorned with four opposing leaves. There is also a gold applique illustrating fighting animals surrounded by a motif of crows with long beaks. Additionally, the collection contains a pair of silver recurve horns from a statuette, an embellished globular bell with geometric motifs in relief, and a glass inlay from Mamluk culture depicting a wise man. Furthermore, there are three hollow circular earrings made of gold or gilt, along with other later jewelry pieces.Size: 15-70mm x 10-70mm; Weight: 93g.Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 500 - 300 BC. A collection of three bronze vessels, each with a rounded body and a flanged lip. The profiles vary, with the one on the left featuring a more pronounced curvature, the middle one with a subtly defined shoulder, and the one on the right with a lower, more open form.For similar see: Richter G. M. A., Greek, Etruscan and Roman Bronzes, Metropolitan Museum of Arts, 1915, Cat. 606, 607, 608. Studi Etruschi XVIII, Heyes, The Etruscan and Italic Collection of R. O. M., Tav. XVI n. 1 e 2.Size: 130-140mm x 40-70mm; Weight: 445gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. AD 800 - 1200.A silver ring with a circular bezel engraved with a Greek cross enclosed within an angular border. The round hoop expands at the shoulders, where pointed protrusions extend outward, each decorated with a pair of circular indentations. A raised flat knob with a rosette motif is positioned at the back of the hoop.For similar see: The British Museum, Museum number 2013,6001.3344.Size: D:17.32mm / US: 7 / UK: N 1/2; Weight: 9.21gProvenance: Private UK collection; previously acquired on the UK art market in the 1990s.

Ca. AD 900 - 1100. A bronze enkolpion composed of two hinged cruciform plaques, allowing it to open along its vertical axis. The obverse is decorated with an engraved figure of Christ standing at the centre, wearing a long robe and raising both hands in a blessing gesture. A halo surrounds the head, and a Greek inscription is engraved above. A cylindrical suspension loop is affixed at the top. The reverse features five circular recesses, one at each arm and one at the junction, likely intended for inlays.For similar see: The British Museum, Museum number 1984,1002.2.Size: 100mm x 40mm; Weight: 80gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 900 - 1100. A silver reliquary cross engraved on both sides. One side depicts the Virgin Orans, standing frontally with arms raised in prayer, flanked by the Greek inscription MP ΘΥ. Above, a leaf motif is engraved, and the composition is framed by a linear border. The other side features Christ on the cross with outstretched arms, accompanied by the Virgin Mary and St. John the Baptist in mourning. Above his head is a cross and the Greek inscription HC XC. Below, a stylised depiction of Golgotha includes a stepped base with a central skull motif. The cross is hinged at the top and bottom, designed as a reliquary for holding a sacred relic, with an integrated suspension loop for wearing.For similar see: Christie's, Online Auction 12805, Ancient Jewelry, Wearable Art, Lot 4; Christie's, Live Auction 1164, Ancient Jewelry, Lot 656.Size: 110mm x 55mm; Weight: 65gProvenance: Private UK collection; previously acquired on the German art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 1100 - 1200. A silver cup with a deep, rounded bowl that gently curves inward. The interior features a centrally placed Chi-Rho monogram enclosed within a circular border, rendered in niello. The symbol consists of the intersecting Greek letters chi (Χ) and rho (Ρ), flanked by the alpha (Α) and omega (Ω) on either side. The exterior of the bowl displays a subtly ribbed texture running vertically from the base to the rim. The cup stands on a cylindrical foot that slightly flares outward.Size: 150mm x 70mm; Weight: 395gProvenance: Private London collection; Ex. A. Moser collection, Switzerland, 1980s-2000s; formerly in an early 1980s Dutch collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 800 - 1000. A silver bracelet with a flat-section band that slightly narrows towards the back. The exterior surface is smooth and undecorated except for a circular gold inset engraved with the Greek monogram "IC XC NIKA" in black, arranged in two lines within the roundel. The inscription is an abbreviation of the Greek phrase "Ἰησοῦς Χριστὸς νικᾷ" (Iēsous Christos Nikā), meaning "Jesus Christ Conquers".Size: 85mm x 85mm; Weight: 105gProvenance: Private UK collection; previously acquired on the UK art market in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 1050 - 1100. A silver cross with flaring arms, each terminating in a large rounded extension with two smaller ones at the corners. The central figure stands in the orans pose with both hands raised in prayer, wearing a long robe with linear detailing. A circular nimbus surrounds the head and a small figure of the infant Jesus is positioned at the chest. Above, a larger medallion bears the image of a saint with an inscription surrounding the bust. The horizontal arms contain additional busts of saints within circular frames, each accompanied by Greek inscriptions. The lower arm extends downward into a narrow section with a squared terminal, possibly for mounting. The reverse is plain.For similar see: The Walters Art Museum, Accession Number 54.2840 (shape).Size: 150mm x 125mm; Weight: 120gProvenance: Private UK collection; formerly with R. A.; since the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 500 - 700. A silver ring with a circular bezel engraved with a Greek inscription in three horizontal lines. The hoop is slender, plain, and of round cross-section.Size: D:18.54mm / US: 8 1/2 / UK: Q 1/2; Weight: 2.35gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

AUSTRIAN VIENNA, PLAQUE, of circular form, transfer decorated, the central reserve depicting Leda, the swan and a cherub within a maroon border decorated with gilt and three further vignettes of figures, beehive mark. Leda and the Swan is a story and subject in art from Greek mythology in which the god Zeus, in the form of a swan, seduces Leda, a Spartan queen.Provenance: Private Scottish Collection 32cm diameter In overall good condition. Surface scratches. Small dent to reverse. Gilding rubbed in places. Additional images now available.

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)

Antique Art Deco platinum topped 14k yellow gold & old European cut diamond hair ornament, brooch, tiara, or diadem. Of slightly convex and curving form, with a seven segment Greek Key or Meander design, set with 211 old European cut diamonds in platinum. The back of the piece in 14k yellow gold with brooch pin and locking C clasp closure. Also with a wide stabilizing placard in 14k yellow gold that slides on and off. Unmarked, tested 14k and platinum.This versatile hair ornament can be worn a number of ways: as a barrette, a chignon pin, a brooch, and on a ribbon as a necklace. This piece could also easily be attached to a tiara frame.Length: 4 1/2 in x width: 3/4 in x depth: 1/4 in. Gross weight: 42.4 g.Condition: All stones present, some very light wear and scratches to the setting. The brooch clip and stabilizing placard all working well.

A PADOUK WINE COOLER OR JARDINIERE IN THE MANNER OF GEORGE SMITH, 19TH CENTURY With distinctive Greek key marquetry frieze, containing a metal liner 38cm high, 57cm wide, 36cm deep An identical wine cooler and possibly the pair to the present lot sold in these rooms, Fine Furniture, Sculpture, Carpets, Ceramics and Works of Art, 1st December 2021, Lot 284 (£2,000 excl. BP). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits chips and minor losses. The padouk surface with some sun fading, discolouration, and minor splitting. The lion mask handles are loose and rotate in position. The lead insert/liner is likely a later replacement but fits well within the cooler. Please see all additional images as a visual reference to condition.Condition Report Disclaimer

A set of Edwardian Art Nouveau silver salt cellars. William Mammatt & Son, Sheffield, 1905. Each salt with three bifurcated handles to a circular body raised on circular foot and complete with blue glass liner, 5cm high, in fitted case; together with: a Greek twin-handled salt cellar by Armaos, stamped 925, with gadrooned border and gilding to interior, the knopped stem to a circular foot, weighted, 6.8cm high; four further Greek salt cellars by Armaos, stamped 925, the scrolling handles to circular bodies raised on moulded, circular feet, with decorative banding around the rims and gilding to interior of the bowls, weighted, 5.4cm high (inc. handles); two small bowls, stamped 900, the circular bodies with flared rims and raised on circular feet with lobed decoration, 12cm dia., and a small group of silver salt spoons, total weighable silver approx. 13.5ozt (a lot) 

SEVEN BOXES OF BOOKS, approximately three hundred titles mostly paperback format, included three Folio Society books, 'Anthem for Doomed Youth', 'Art and Illusion' by E. H. Gombrich, and 'The Greek Myths I & II', other books included are many Penguin paperback books on a variety of subjects such as art, history, true life stories, cookery, etc. many are vintage penguin stories, (7 boxes), (sd/af)

REMBRANDT HARMENSZOON VAN RIJN (DUTCH 1606-1669) THE THREE TREES (B., HOLL. 212; NEW HOLL. 214; H. 205), 1643 etching with engraving and drypoint, on laid paper, watermark Foolscap with five-pointed Collar (Hinterding A-a-a), New Hollstein's only state, a brilliant, early impression of this highly important subject, printing very richly and darkly, with intense contrasts and bright highlights, the burr and sulphur tinting in the sky very pronounced, with small margins the sheet 21.8cm x 28.3cm (8 ½in x 11in) Christiaan Josi (1768-1828), Amsterdam and London (see Lugt 573, without mark); his posthumous sale, Christie's, London, 18-21 March 1829, lot 83 'Most Brilliant Impression' (£12; to Seguier)William Seguier (1771-1843), London (Lugt 2277), acquired at the above sale, with his pencil signature verso; his posthumous sale, Christie's, London, 29 April - 3 May 1844, lot 431 (£23-12-6; to Hawkins)John Heywood Hawkins (1803-1877), London and Bignor Park, Sussex, his purchase price inscribed in Greek letters (see Lugt 3023); acquired at the above saleProbably with Colnaghi & Co., London; acquired from the aboveWalter Francis Duke of Buccleuch (1806-1884), London and Dalkeith, Scotland (Lugt 402); probably acquired from the above, with his collection ink mark verso; his posthumous sale, Christie's, London, 19-22 April 1887, lot 1954 ('from the Seguier and Hawkins Collections') (£165; to Meder)With Louis Gerhard Meder (1848-1924) (of Amsler & Ruthardt), Berlin; presumably acquired on behalf of the belowSammlung der Königlichen Museen, Berlin, dated 1887 (Lugt 1610); presumably acquired from the above; with their de-accession stamp verso (Lugt 2482); their sale, Amsler & Ruthardt, Berlin, 6 March 1899 (and following days), lot 1600 ('Die Gewitterlandschaft mit den drei Bäumen. S. 212. Des Meisters Hauptblatt unter den Landschaften; das prachtvolle Exemplar der Sammlung Buccleuch, auf Schellenkappenpapier und mit 3 mm Rand ringsum. Exemplare von der Schönheit und vortrefflichen Erhaltung des vorliegenden sind von höchster Seltenheit und Kostbarkeit.')Dr Julius Elischer von Thurzóbánya (1846-1909), Budapest (Lugt 824, stamped twice); probably acquired at the above saleWith Kennedy Galleries, New York, with their stock number a48042 in pencil versoRobert Woods Bliss (1875-1962) and Mildred Barnes Bliss (1879–1969), Dumbarton Oaks, Washington, D.C. (Lugt 2004a); presumably acquired from the aboveDumbarton Oaks Research Library and Collection, Washington D.C; presumably part of the donation from the aboveWith R. M. Light & Co., Santa Barbara, CaliforniaPrivate Collection, acquired from the above on 31 January 1980; then by descentChristie's London, Old Master Prints, 9 December 2021, lot 126Acquired from the above by Hugo Burge Literature: Bartsch, Hollstein 212; New Hollstein 214; Hind 205Cynthia P. Schneider, Rembrandt’s Landscapes – Drawings and Prints, National Gallery of Art, Washington, D.C. (exh. cat.), 1990, no. 75, pp. 240-42 (another impression illustrated)Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Fondation Custodia, Paris, 2008, no. 167, pp. 390-93 (another impression illustrated)Nicholas Stogdon, A Descriptive Catalogue of the Etchings by Rembrandt in a Private Collection, Switzerland, privately printed, 2011, no. 93, pp. 158-9 (another impression illustrated)The Three Trees is Rembrandt’s largest and most elaborate landscape etching and is considered a masterpiece within his oeuvre.  

A Soviet-era educational poster illustrating aspects of ancient Greek civilization, featuring Greek merchant ships, military vessels, and the iconic wooden horse. Rendered in a distinctive Soviet style, this artwork offers a glimpse into Greek trade, warfare, and mythology. Authored by G.I. Godler and illustrated by L.M. Goldberg, both prominent contributors to Soviet historical education. Size: 59 cm by 89 cm. Paper condition should be evaluated from the provided photos. This rare, collectible poster is ideal for enthusiasts of ancient history and Soviet-era educational art.

Sadie Tierney Selene (Golden), 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sadie Tierney studied at the Royal College of Art, London and Newcastle University.   Education MA Fine Art Printmaking, RCA BA(Hons) Fine Art, Newcastle University Solo Exhibitions 2021 The Mountains are Calling, Rabley Gallery   2019 Round Tower, Portsmouth   2017 From Here to There, Eton College The Night, The Light, and the Half Light, Rabley Gallery   Group Exhibitions 2024 Artist Fundraiser for MSF, 14 Wharf Road London Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair, Open Call and Rabley Gallery Messums Emerging Landscape Painting Today, Online   2023 RWA 170 Annual Open Exhibition Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair Royal Academy Summer Exhibition Summer Exhibition, Rabley Gallery, Wiltshire   2022 RA Summer Exhibition London Original Print Fair Woolwich Contemporary Print Fair, Boodle Hatfield Prizewinner, Solo Presentation RWA Bristol Annual Open Exhibition IFPDA Print Fair, New York Public Collections Portsmouth Museum & Art Gallery National Museum, Gdańsk The Bronx Museum of the Arts Otter Collection Swindon Museum and Art Gallery The Royal West of England Academy Clifford Chance The Royal Navy Eton College RCA Cunard Pallant House Awards 2020, 2006, 2005 Arts Council England   2020 AN Bursary, Boodle Hatfield Prize   2019 Printfest Printmaker of the Year Statement About AOAP Submitted Artwork Working in a tradition of an English landscape painter and printmaker, Tierney's work explores objects and places where form is linked to emotion and metaphor. The expressive images have a contemporary edge marked by energetic use of colour and line. They spring from sketches and drawings made en plein air and are developed using painting and printmaking back at her studio on the south coast of the Isle of Wight where the moon reflected in the English Channel provides inspiration. In ancient Greek mythology and religion, Selene is the goddess and personification of the Moon. She was reputed to drive her horse drawn chariot across the night sky, as her brother Helios the day. The moon's long association with female power, and links with the female cycle led these artworks to be selected specially for International Women's Day.   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.

Stella Kapezanou Thorny and Nutrient Sketch , 2024 Acrylic and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Stella Kapezanou is a Greek visual artist known for her vibrant, ironic, and complex paintings that explore themes of identity, capitalism, consumerism, and societal expectations. Born in Athens, she studied at the Athens School of Fine Arts and completed her MA at Chelsea College of Arts in London. Her works often feature psychologically charged portraits and intimate social settings, blending elements of humor, mythology, and art history. Stella employs the tableau vivant technique, carefully orchestrating and photographing scenes before transferring them to canvas, often enriched with symbolic and surreal elements. Her large-scale works are characterized by their bold, warm palettes, intricate compositions, and exploration of femininity, power, and vulnerability. She is also a Fulbright Fellow and has exhibited internationally, including solo shows in Greece, the UK, Cyprus, and the U.S. Her work has been part of significant collections worldwide and is known for its caustic humor, playful critique of modern life, and empowering depictions of the female form. Alongside her paintings, she creates ceramic sculptures that echo the themes of her visual narratives. Education 2016-2017 MA Fine Arts, Chelsea College of Arts, London, UK 2011-2015 MFA, Athens School of Fine Arts, Athens, GR Solo Exhibitions 2024 Naughty Miniatures, Apodec project space, Thessaloniki, GR Corn Maidens (duo exhibition), The Opening Gallery, NY, USA 2022 Let Them Stare, The Edit Gallery, Limassol, CY 2021 Theodoros & Laskarina exclusive, Fougaro, Nafplio, GR 2020 Baby One More Time, Evripides Gallery, Athens, GR 2019 Just a Few Drops of Pink Coppertone, Fougaro, Nafplio, GR Single's Party, The Edit Gallery, Limassol, CY 2018 Brit Pond, Evripides Gallery, Athens, GR From Heavens with Love, The Palm Tree Gallery, London, UK Group Exhibitions 2024 The Art of Now, The Edit Gallery, Nicosia, CY Unapologetic WomXn, Palazzo Bembo, Venice, IT 2023 Sunburn, Studio West Gallery, London, UK Stigma, Dromokaitio Psychiatric Hospital, Athens, GR Now Women, Fougaro, Nafplio, GR 2022 Contemporary Now, The Edit Gallery, Nicosia, CY 2021 Art on Boards | The Skate Project, Zoumboulakis Galleries, Athens, GR Lusus Naturae, BcmA Gallery, Berlin, DE Reclaiming, The Edit Gallery, Limassol, CY 2020 iAR project 2020, Akaretler Gallery, Istanbul, TR 2019 Love is a Dog from Hell, Frissiras Museum, Athens, GR Three Pillars, Chelsea Gallery, London, UK 2018 ArtLab Munich, Galerie Benjamin Eck, Munich, DE Awards 2024 Creator of the Visual Identity for the 65th Thessaloniki International Film Festival (TIFF'65) Santa Fe Art Institute's International Thematic Residency on Sovereignty, New Mexico, USA Fulbright Artist Fellowship Award for participation in the SFAI program, USA 2023 CARV Residency, Argaka, CY 2020 Istanbul Artist Residency (iAR), Istanbul, TR 2019 AucArt LAB Residency, London, UK 2018 ACS Studio Prize 2018 Finalist, London, UK Cass Art Prize, London, UK Gallery Representation Skoufa Gallery, Athens, Greece The Edit Gallery, Limassol, Cyprus Statement about AOAP Submitted Artwork This drawing by Stella Kapezanou, is part of her Thorny and Nutrient series. The work depicts prickly pear cactuses with fruits resembling female breasts, serving as an homage to contemporary women-protected by sharp spines yet embodying tenderness and vitality. 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.

Eva Merendes Port na' Bo, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eva Merendes is a Greek, London-based contemporary artist and art educator whose work spans painting, drawing, and installations. She works in a variety of mediums with a sweet spot for watercolours and their expressive qualities. Eva creates works on paper and wood panels, drawing inspiration from the humour and absurdity of everyday life. Her practice includes series of works exploring observations, landscapes, and a deep connection to nature, reflecting on the interplay between human experiences and the natural world. Influenced by existentialist and stoic philosophies, Eva's art employs symbolic elements to examine resilience, authenticity, and the paradoxes of existence, inviting viewers to embrace life's complexities with curiosity and humour. Education 2022-2024 MFA in Fine Art, City & Guilds of London Art School, London, UK 2016-2018 MA in Art Psychotherapy, University of Roehampton, London, UK 2009-2015 BSc in Psychology, Aristotle University of Thessaloniki, Thessaloniki, Greece Group Exhibitions 2024 Southwark Park Galleries | Annual Open 2024, London, UK Candid Arts Trust Graduate Show, London, UK MA Show at City & Guilds of London Art School, London, UK Royal Scottish Academy 198th Annual Exhibition, London, UK Chelsea Art Society 75th Annual Summer Show at Chelsea Old Town Hall The Entranced Essence at RuptureXibit Gallery, London, UK Interim Show at City & Guilds of London Art School, London, UK Invisible Visible: A celebration of LGBTQ+ bodies & Identities at Hartslane Gallery, London, UK 2023 Interim Show at City & Guilds of London Art School, London, UK 2022 London Design Festival, London, UK The Royal Exchange X The Crossover Project, London, UK Erotic Art London X Oxo Tower, London, UK Royal Institute of Painters in Watercolours X Mall Galleries, London, UK 2021 'Home Takeover' Campaign for Bleur Art, across UK 2020 'Insert Feeling Here' for Bleur Art, London, UK Forces at Art Number 23, London, UK Awards 2024 The Tony Carter Award, City & Guilds of London Art School Gallery Representation Bleur Gallery, London, UK Statement about AOAP Submitted Artwork Golden Hour, Where to Next, Port Na Bo, and Mourne Mountains are reflections on my travels along the Northern Irish coastlines and frosty, sunlit landscapes. These works explore my connection to nature, capturing the fleeting beauty of changing environments and the sense of wonder and smallness they evoke in me. Using watercolours, I created translucent layers and fluid marks to reflect the delicate interplay of light and atmosphere. These pieces serve as both observations and metaphors, inviting reflection on the resilience and poetry of the natural world. 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.

Eva Merendes Where to next?, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eva Merendes is a Greek, London-based contemporary artist and art educator whose work spans painting, drawing, and installations. She works in a variety of mediums with a sweet spot for watercolours and their expressive qualities. Eva creates works on paper and wood panels, drawing inspiration from the humour and absurdity of everyday life. Her practice includes series of works exploring observations, landscapes, and a deep connection to nature, reflecting on the interplay between human experiences and the natural world. Influenced by existentialist and stoic philosophies, Eva's art employs symbolic elements to examine resilience, authenticity, and the paradoxes of existence, inviting viewers to embrace life's complexities with curiosity and humour. Education 2022-2024 MFA in Fine Art, City & Guilds of London Art School, London, UK 2016-2018 MA in Art Psychotherapy, University of Roehampton, London, UK 2009-2015 BSc in Psychology, Aristotle University of Thessaloniki, Thessaloniki, Greece Group Exhibitions 2024 Southwark Park Galleries | Annual Open 2024, London, UK Candid Arts Trust Graduate Show, London, UK MA Show at City & Guilds of London Art School, London, UK Royal Scottish Academy 198th Annual Exhibition, London, UK Chelsea Art Society 75th Annual Summer Show at Chelsea Old Town Hall The Entranced Essence at RuptureXibit Gallery, London, UK Interim Show at City & Guilds of London Art School, London, UK Invisible Visible: A celebration of LGBTQ+ bodies & Identities at Hartslane Gallery, London, UK 2023 Interim Show at City & Guilds of London Art School, London, UK 2022 London Design Festival, London, UK The Royal Exchange X The Crossover Project, London, UK Erotic Art London X Oxo Tower, London, UK Royal Institute of Painters in Watercolours X Mall Galleries, London, UK 2021 'Home Takeover' Campaign for Bleur Art, across UK 2020 'Insert Feeling Here' for Bleur Art, London, UK Forces at Art Number 23, London, UK Awards 2024 The Tony Carter Award, City & Guilds of London Art School Gallery Representation Bleur Gallery, London, UK Statement about AOAP Submitted Artwork Golden Hour, Where to Next, Port Na Bo, and Mourne Mountains are reflections on my travels along the Northern Irish coastlines and frosty, sunlit landscapes. These works explore my connection to nature, capturing the fleeting beauty of changing environments and the sense of wonder and smallness they evoke in me. Using watercolours, I created translucent layers and fluid marks to reflect the delicate interplay of light and atmosphere. These pieces serve as both observations and metaphors, inviting reflection on the resilience and poetry of the natural world. 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.

Sadie Tierney Selene (Silver), 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sadie Tierney studied at the Royal College of Art, London and Newcastle University.   Education MA Fine Art Printmaking, RCA BA(Hons) Fine Art, Newcastle University Solo Exhibitions 2021 The Mountains are Calling, Rabley Gallery   2019 Round Tower, Portsmouth   2017 From Here to There, Eton College The Night, The Light, and the Half Light, Rabley Gallery   Group Exhibitions 2024 Artist Fundraiser for MSF, 14 Wharf Road London Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair, Open Call and Rabley Gallery Messums Emerging Landscape Painting Today, Online   2023 RWA 170 Annual Open Exhibition Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair Royal Academy Summer Exhibition Summer Exhibition, Rabley Gallery, Wiltshire   2022 RA Summer Exhibition London Original Print Fair Woolwich Contemporary Print Fair, Boodle Hatfield Prizewinner, Solo Presentation RWA Bristol Annual Open Exhibition IFPDA Print Fair, New York Public Collections Portsmouth Museum & Art Gallery National Museum, Gdańsk The Bronx Museum of the Arts Otter Collection Swindon Museum and Art Gallery The Royal West of England Academy Clifford Chance The Royal Navy Eton College RCA Cunard Pallant House Awards 2020, 2006, 2005 Arts Council England   2020 AN Bursary, Boodle Hatfield Prize   2019 Printfest Printmaker of the Year Statement About AOAP Submitted Artwork Working in a tradition of an English landscape painter and printmaker, Tierney's work explores objects and places where form is linked to emotion and metaphor. The expressive images have a contemporary edge marked by energetic use of colour and line. They spring from sketches and drawings made en plein air and are developed using painting and printmaking back at her studio on the south coast of the Isle of Wight where the moon reflected in the English Channel provides inspiration. In ancient Greek mythology and religion, Selene is the goddess and personification of the Moon. She was reputed to drive her horse drawn chariot across the night sky, as her brother Helios the day. The moon's long association with female power, and links with the female cycle led these artworks to be selected specially for International Women's Day.   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.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)

λ MAGGI HAMBLING (BRITISH B. 1945) HEBE SMOKING Pencil Signed and dated 1980 (lower centre); titled, inscribed and dated 1980 to artist's label (verso) 24.5 x 17.5cm (9½ x 6¾ in.) Provenance: Acquired directly from the artist Thence by descent to the present owner Hebe is the Greek goddess of eternal youth and daughter of Zeus. The figure of Hebe was explored a year earlier in 1979 for a work titled Hebe and Her Serpent which is currently on loan to The Women's Art Collection in Cambridge. Condition Report: Unexamined out of glazed frame. Executed on white wove paper, the work appears to be in good original condition. The sheet is undulating slightly in the mount and is possibly very slightly discoloured.Condition Report Disclaimer

Spyridon Scarvelli,  Greek 1868-1942- An entrance at the corner of a building with a figure peering over a stone wall; pencil and watercolour on paper, signed 'Scarvelli' (lower left), bears partial label for 'Caelt Gallery, Westbourne Grove' attached to the backing board, 35.2 x 22.3 cm. Provenance:  Private Collection, UK. Note:  Spyridon Scarvelli was born on the island of Corfu, Greece. He was taught art at The Corfu School of Art and later studied in Trieste & Rome. His work is found in many public and private collections, notably: The National Gallery, Athens, The Athens Municipal Gallery, The Leventis Gallery, The Koutlides Collection, The Averoff Gallery, The Municipal Gallery of Corfu, The Municipal Gallery of Rhodes, and The National Bank of Greece. 

§ § Salvador Dali (Spanish, 1904-1989) Le Cabinet Anthropomorphique, 1973sterling silversigned, inscribed "Sterling" with the edition number 128/330-A on left side of drawers, cast by Foneria Mibrosa, Barcelona, with the foundry mark on drawers verso11.5cm high, 23cm long Published: Passoni, Morse and Field, Dalí, Milan, 1986, page 79 (bronze cast illustrated); Levi, The Dalí Universe, London, 2000, pages 80-81 (larger bronze cast illustrated); Descharnes, Dalí, The Hard and the Soft, Spells for the Magic of Form, Sculptures & Objects, Azay-le-Rideau, 2004, page 266, number 683 (bronze cast illustrated); Lechien, Dalí, Dalí! ou l'éclosion apothéosique d'un sculpteur, Brussels, 2004, pages 70 and 99 (larger bronze cast illustrated).Dalí's (1904-1989) Le Cabinet Anthropomorphique revisits his celebrated Venus de Milo with Drawers, plaster, 1936, for which he appropriated the form of the famous classical Greek marble now in the Musée du Louvre, Paris. The Art Institute of Chicago, which holds the Dalí plaster sculpture, notes, "Among Dalí's many memorable works, perhaps none is more deeply embedded in the popular imagination than Venus de Milo with Drawers, a half-size plaster reproduction of the famous marble statue (130 / 120 BC), altered with pompon-decorated drawers in the figure's forehead, breasts, stomach, abdomen and left knee. The combination of cool painted plaster and silky mink tufts illustrates the Surrealist interest in uniting different elements to spark a new reality. For the Surrealists, the best means of provoking this revolution of consciousness was a special kind of sculpture that, as Dalí explained in a 1931 essay, was 'absolutely useless . . . and created wholly for the purpose of materializing in a fetishistic way, with maximum tangible reality, ideas and fantasies of a delirious character.' Dalí's essay, which drew upon the ideas of Marcel Duchamp's readymades, inaugurated object making as an integral part of Surrealist activities.Influenced by the work of Sigmund Freud, Dalí envisioned the idea of a cabinet transformed into a female figure, which he called an 'anthropomorphic cabinet.' Venus de Milo with Drawers is the culmination of his explorations into the deep, psychological mysteries of sexual desire, which are symbolized in the figure of the ancient goddess of love."Dalí also made an oil on wood painting of the subject, Anthropomorphic Chest of Drawers, 1936, now in a private collection, Germany, and a lithograph, Drawers of Memory, 1965. Very good condition with no faults noted, nice bright colour to the silver, on a marble plinth which has some light scuffing which is essentially in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

After George Émile Henri Servant, French, 1828-1890, after the Antique, a pair of French bronze busts of Bacchus and Ariadne, third quarter 19th century, each stamped GS and MEDAILLE D'OR 1867, on tapering rouge griotte columns and stepped square bases, 38.5cm high (2)Note: George Emile Henri Servant was a French clockmaker who, in 1855 took over his father's workshop and foundry in the Marais district of Paris. He became known for the production of clocks and works of art in the Greek and Egyptian revival styles. He exhibited at many of the international exhibitions taking place in Paris and London, including the 1855 Paris Universal Exhibition and in London in 1862.

A Folk Art Greek pottery ceramic wall plaque depicting a traditional scene with figures, 30 x 40cm, mounted within frame

BOOKS, ANCIENT CIVILIZATIONS. Mainly Greece and Greek art & architecture; also near-east and other Asian vols.

Aurélio, José Manuel (Portuguese, 1938-present); b. Alcobaça PORTUGAL, Centenario Calouste Gulbenkian, Abertura da Fundação, Lisbon [Centenary of the Birth of Calouste Gulbenkian and Opening of the Gulbenkian Museum], 1969, an openwork cast bronze medal by J.M. Aurélio for the Fundação Calouste Gulbenkian, legend both sides, 74mm, 198.91g (cf. DNW 53, 1262). Very fine £30-£40 --- Provenance: Bt Simmons. Calouste Sarkis Gulbenkian (1869-1955), Armenian-British businessman and philanthropist, oil magnate, collector of Greek coins; his coins, along with some 6,000 works of art from his collection, are housed in the Calouste Gulbenkian Museum, Lisbon, opened in 1969

Lavrillier, André (French, 1885-1958); b. Paris FRANCE, Léda et le Cygne [Leda and the Swan], 1925 [struck 1929], a uniface Art Déco bronze plaque by A. Lavrillier, Leda being seduced by Zeus in the form of a swan, edge impressed bronze and cornucopia, 100 x 61mm, 267.91g (Maier 313; Classens 107; CGMP p.228; Jones, Art of the Medal, 418; The Medal 44, p.46; cf. DNW M11, 1821). One of the classic Art Déco medallic images, a trifle rubbed on Léda’s left thigh, otherwise about extremely fine, rare £400-£500 --- Leda and the swan is a story from Greek mythology in which the god Zeus, in the form of a swan, seduces or rapes Leda, a Spartan queen, on the same night she slept with her husband, King Tyndareus

Vézien, Élie-Jean (French, 1890-1982); b. Marseille FRANCE, XXVe Anniversaire Foire Internationale de Marseille [25th Anniversary Marseille International Fair], 1949, an Art Déco silver medal by É.-J. Vézien, Gyptis offering cup to Protis, rev. legend on cross, edge impressed 1 argent and cornucopia, 69mm, 186.52g (cf. CGMP p.1873). About extremely fine, rare; in maroon fitted case of issue £90-£120 --- Provenance: DNW Auction 37, 8 September 1998, lot 1304; bt M.F. Bonham Carter. The obverse, taken from Vézien’s Fondation de Marseille medal of 1946, refers to the marriage of Gyptis and Protis and the founding of Marseillles (Massalia) by Greek mariners in 600 BC. The fair is normally staged in late September and early October each year

Clarke, Geoffrey Cyril Petts (British, 1924-2014); b. Darley Dale ENGLAND, Pyramus and Thisbe, 1985, a cast bronze medal by G.C.P. Clarke [Wolverhampton Polytechnic] for the British Art Medal Society, cubist face of Pyramus, rev. cubist face of Thisbe, 90mm, 743.91g (Attwood 32; The Medal 7, p.76; BM Acq. 1983-7, p.79, 59; Jones, CBM p.27, 15). Very fine and as made, rare £100-£200 --- Edition of 38. Pyramus and Thisbe, ill-fated lovers in Greek mythology, lived in Babylon, where they occupied neighbouring houses

Telcs, Eduard, aka Ede Telcs (Hungarian, 1872-1948); b. Baja, moved to Austria 1888, back to Hungary 1895, moved to Netherlands 1920, back to Hungary 1922 FRANCE, Atalante, 1926 [struck 1932], a uniface bronze Art Déco medal by E. Telcs, naked female representing Atlanta running left, stooping to pick up a golden apple, edge impressed bronze and cornucopia, 60mm, 90.55g (Pol-Tyszkiewicz, The Medal 85, p.42; CGMP p.370; cf. iNumis Dec. 2019, 462; cf. DNW 64, 1394). Very fine £80-£100 --- Provenance: Bt J.-P. Würz. According to Greek mythology, Aphrodite, who felt spurned because Atalanta was a devotee of Artemis and rejected love, gave Hippomenes three golden apples. In an organised race, Atalanta, wearing armour and carrying weapons, quickly passed Hippomenes, but was diverted off the path when he tossed an apple for her to retrieve; each time Atalanta caught up with Hippomenes, he would toss another apple, ultimately winning the race and Atalanta herself

3rd century A.D. An oval-shaped amuletic peridot gemstone intaglio with bevelled edge, engraved with facing figure of goddess Selene advancing left, wearing a peplos with billowing veil or shawl above, crescent at neck and to head, holding a torch; Greek inscription 'MY' and inversed 'MI' below; supplied with a museum-quality impression. 3.07 grams, 21 mm (7/8 in.). Acquired 1979-1999. London collection of the late Mr S.M., thence by descent. Acquired on the UK art market. Private collection, London, UK.

6th-7th century A.D. Ellipsoid plaque with straps for the hinge, slightly domed, pierced to accept three rivets (two absent), two concentric bands of pointillé ornament, pointillé inscription in Greek in three lines: 'ΑΓΙЄ ΔΗΜΟΘΑ(sic) ΒΟΗΘΙ ΤΟ ΦΟΡ[Ο]ΝΤ' [Saint Demothas(?), help the wearer]. 9.18 grams, 35 mm (1 3/8 in.). [No Reserve] (For this specific lot, 5% import VAT is applicable on the hammer price.) with H.A.C., Basel, prior 1999. Accompanied by a copy of an Art Loss Register certificate no.S00034831.

1975-1999 A.D. S.B. Mathieson - Ancient Glass in the Yale University Art Gallery - New Haven, 1980, card covers, 152 pp, monochrome and colour; Fortuna Fine Art - Solid Liquid: Greek, Roman, Byzantine and Islamic Glass sale catalogue - New York, 1999, card covers, 125 pp, colour; John A. Brooks - The Samson Low Collector's Library: Glass - New York, 1975, hardback with dustwrapper, 80 pp, monochrome and colour; Hiroko Horiuchi - Exhibition of Ancient Glass - Kyobashi, 1993, card covers, 67 pp, colour; Rosemarie Lierke - Antike Glastöpferei - Mainz, 1999, hardback with dustwrapper, 156 pp, colour and monochrome. 3 kg total, 21 x 28 - 24 x 30.5 cm (8 1/4 x 11 - 9 3/8 x 12 in.). [5, No Reserve] Property of a North West London gentleman.

1986-1998 A.D. J. Lesley Fitton - Cycladic Art - London, 1989, card covers, 72 pp, colour images; Ian Jenkins - Greek and Roman Life - London, 1986, card covers, 72 pp, colour images; Lucilla Burn - Greek and Roman Art - London, 1991, card covers, 223 pp, monochrome images; Eleni Vassilika - Greek & Roman Art - Cambridge, 1998, card covers, 136 pp, colour images; John Boardman - Greek Sculpture: The Late Classical Period - London, 1995, card covers, 248 pp, monochrome images; John Boardman - Greek Sculpture: The Archaic Period - London, 1996, card covers, 252 pp, monochrome images. 2.56 kg total, 15 x 21 - 19 x 24.5 cm (5 7/8 x 8 1/4 - 7 1/2 x 9 5/8 in.). [6, No Reserve] Property of a North West London gentleman.

1977-2007 A.D. Stefan Danailov et al - L'Or des Thraces: Trésors de Bulgarie - Paris, 2007, card covers, 192 pp, colour images; Metropolitan Museum of Art - Thracian Treasures from Bulgaria - New York, 1977, card covers, 80pp, colour and monochrome images; АУКЦИОННЫЙ ДОМ КАБИЕШЪ - auction catalogue 9th December 2006 - card covers, 74 pp, colour images; Dietrich von Bothmer - A Greek and Roman Treasury - New York, 1984, card covers, 72 pp, colour and monochrome images; Joan Mertens - Greek Bronzes in the Metropolitan Museum of Art - New York, 1985 (reprint from Bulletin), card covers, 64 pp, colour and monochrome images. 2.2 kg total, 21 x 27 - 24 x 28 cm (8 1/4 x 10 5/8 - 9 3/8 x 11 in.). [5, No Reserve] Property of a North West London gentleman.

1968-2007 A.D. A Generation of Antiquities The Duke Classical Collection 1964-1994 - New York, 1994, card covers, 86 pp, 40 plates, map, monochrome images; Pierre Grimal - The Dictionary of Classical Mythology - Oxford, 1986, card covers, 603 pp, maps and monochrome images; Raimund Wuensche - Glyptothek, Munich: Masterpieces of Greek and Roman Sculpture - Munich, 2007, card covers, 224 pp, monochrome and colour images; Maxwell Anderson & Leila Nista - Roman Portraits in Context - De Luca Edizioni D'Arte, Rome, 1988, card covers, 92 pp, monochrome images; David Mitten & Suzannah Doeringer - Master Bronzes from the Classical World - The Fogg Art Museum - Los Angeles, 1968, card covers, 320 pp, monochrome and colour images. 3.8 kg total, 16.5 x 24.5 - 21.5 x 28 cm (6 1/2 x 9 5/8 - 8 1/2 x 11 in.). [5, No Reserve] Property of a North West London gentleman.

1978-1992 A.D. Tokyo National Museum - Ancient Glass from Orient - Tokyo, 1978, card covers, 147 pp, monochrome and colour; Shinji Fukai et al. - Persian Glass - hardback with cloth cover, Japanese text, typed English transcription of the catalogue entries, 220pp, colour; Galdys Davidson Weinberg - Glass Vessels in Ancient Greece - Athens, 1992, card covers, 135 pp, colour and line drawings; Michael Klein (ed) - Römische Glaskunst und Wandmalerei - Mainz, 1999, hardback, 160 pp, colour and monochrome; Fortuna Fine Art - Solid Liquid: Greek, Roman, Byzantine and Islamic Glass sale catalogue - New York, 1999, card covers, 125 pp, colour. 3.8 kg total, 18 x 26 - 23 x 30.5 cm (7 x 10 1/4 - 9 x 12 in.). [5, No Reserve] Property of a North West London gentleman.

2nd-3rd century A.D. Bust and torso of an indigenous nobleman modelled in the round; with rounded facial features, the shoulder-length hair dressed in hanks and cut into tiers, centre-parted and framing the face; the eyes exaggerated, probably originally emphasised with sheet-silver detailing; the broad chest smooth with ring-and-dot nipples; a thick collar or torc sitting high on the collar-bone, with braided detailing and finished with a D-shaped pendant; each upper-arm supported by a barley-twist column with cup finial and stylised flames above; the centre supported by a rectangular block with incised herringbone linear pattern interspersed with pointillé pellets; the base broad and gently curved away from the figure, with a lattice of bilinear panels bearing groups of three ring-and-dot motifs, D-shaped loop to the forward edge flanked by smaller lobes; the reverse plain, the head hollow with remains of a thick loop at the lower edge of the hair; significant iron deposits to surface from its deposition environment; of provincial Roman workmanship. See Boucher, S. & Tassinari, S., Musée de la Civilisation Gallo-Romaine a Lyon: Bronzes Antiques I. Inscriptions, Statuaire, Vaisselle, Lyon, 1976. 461 grams, 13 cm (5 1/8 in.). [No Reserve] From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.Its construction with a central block flanked by two short pillars (i.e. leaving two slots) suggests that the piece may have been intended as a rein-guide for a chariot, whereby the leather or fabric straps would pass through the two apertures and, by their separation, be prevented from tangling. Bronze figural busts are known from Gallo-Roman contexts: they are usually female and interpreted as tutelae or protective tribal spirits (Boucher & Tassinari, 1976, items 62-4). The present example is evidently designed to impress the viewer with its portrayal of the 'noble barbarian' as a suitable conveyor of martial splendour (Boucher & Tassinari, 1976, item 321). The impressive figure recalls the famed statue 'The Dying Gaul' in the Capitoline Museum, Rome, showing a 'barbarian' warrior with a neck torc, thick hair and moustache, discarded weapons and shield carved on the ground and a carnyx trumpet between his legs. The statue is a copy of a Hellenistic original celebrating a Greek victory over the Galatians.

9th-early 11th century A.D. Hollow-formed U-shaped body with spiral-wound finial wire cones and granulated collars, repoussé pounced finial with beaded wire lateral loops, ribbed loops to the outer face; complete with custom-made stand. See Williams, D. and Ogden, J., Greek Gold, Jewelry of the Classical World, MMA, 1994, item 77, for type. 8.87 grams, 41 mm (20.04 grams total, 68 mm including stand) (1 5/8 in. (2 5/8 in.). Acquired on the London art market, 1990s. Private collection, London.

3rd-1st century B.C. Three lentoid-section lead slingshots (glandae), each deformed due to impact, one with the Greek letters 'ΓΕΜ…ΔΑ' (Ghemonidas?). Cf. Schinco, G., Small, A.M., 'A previously unknown siege of Botromagno/Silvium: the evidence of slingshots from Gravina in Puglia (Provincia di Bari, Puglia)' in Papers of the British School at Rome, 2019, pp.1-52, fig.34, for similar. 118 grams total, 25-31 mm (1 - 1 1/4 in.). [3, No Reserve] Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of Surrey, UK, gentleman.The use of lead slingshots in battle is attested in Greece as early as the 5th century B.C. Numerous finds were excavated in Olynthus, usually olive or plump-almond-shape. The type continued to be used in the Italian peninsula, and similar specimens, bearing the title ‘Commander of the Units of Slingers’ have been attested from the period of the Punic Wars.

Ptolemaic Period, 332-30 B.C. or later. An over-life-size head of a pharaoh, likely from a monumental sphinx, wearing the royal nemes headdress with a prominent headband and the remains of a rearing uraeus on the brow with a single coil of the body on either side of the cobra’s hood, its tail extending towards the back of the headdress; the large, almond-shaped eyes prominently outlined, and unlike on some portraits, the cosmetic lines do not extend beyond the outer corner; the fragmentary nose almost spanning the width of the small mouth modelled with straight and somewhat pursed lips; mounted on a custom-made display stand. Cf. Stanwick, P., Portraits of the Ptolemies: Greek Kings as Egyptian Pharaohs, Austin, 2002, pp. 67, 103 Cat. A27, for similar. 45.15 kg, 43 cm (17 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]Private collection, Germany, 1975. European collection, 1980s-late 1990s. By descent from the above to the present owner. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12201-218142.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 presence of tool marks around the neck and sides of the head, contrasting the smooth surface of the face and front part of the headdress, suggests that the sculpture is an unfinished piece. The noticeably heavy brow line is a feature of the 30th Dynasty style, which then influenced Ptolemaic royal portraiture (cf. Tomoum, N., The Sculptors' Models of the Late and Ptolemaic Periods, Cairo, 2006, pl.17, for a finished portrait assigned to the 30th Dynasty).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/

6th-7th century A.D. Ellipsoid in plan with chamfered edge; standing nimbate figure in ankle-length robe extending one hand in blessing above a crawling supplicant; extensive Greek text transcribed as: ''ΚΕ Η ΓVNΙ / ΙΛ ΡVCΕΙ Ε / ΛTΟΣ ΕΤΙ / ΚΕ ΠΟΛΑ / ΝΙCΛ ΜΙ / Ν ωFΕΛΕ / ΛΑΑΜ / ΕΡ / ΗΛ / Λ / ΜΟVCΑ ' and 'A / ΛF / O / ΛΛ'.…'[καὶ γυνὴ οὗσα ἐν ῥύσει αἵματος δώδεκα ἔτη καὶ πολλὰ παθοῦσα ὑπὸ πολλῶν ἰατρῶν καὶ δαπανήσασα τὰ παρ᾽ αὐτῆς πάντα καὶ μηδὲν ὠφεληθεῖσα ἀλλὰ μᾶλλον εἰς τὸ χεῖρον ἐλθοῦσα…' Cf. similar amulet in the Metropolitan Museum, New York, item 17.190.491. 10.2 grams, 27 mm (1 in.). UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman.The scene and surrounding text refers to the miracle concerning the woman with the issue of blood; the Greek text is abbreviated from Mark 5, 25-34: 'And there was a woman who had had a discharge of blood for twelve years, and who had suffered much under many physicians, and had spent all that she had, and was no better but rather grew worse. She had heard the reports about Jesus and came up behind him in the crowd and touched his garment. For she said, 'If I touch even his garments, I will be made well.' And immediately the flow of blood dried up, and she felt in her body that she was healed of her disease. And Jesus, perceiving in himself that power had gone out from him, immediately turned about in the crowd and said, 'Who touched my garments?' And his disciples said to him, 'You see the crowd pressing around you, and yet you say, ‘Who touched me?' And he looked around to see who had done it. But the woman, knowing what had happened to her, came in fear and trembling and fell down before him and told him the whole truth. And he said to her, 'Daughter, your faith has made you well; go in peace, and be healed of your disease.'

6th-7th century A.D. With integral discoid bezel displaying a male and female facing intaglio bust, Greek text below 'OMONOIA', (concord. agreement, harmony). Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 489, for type. 10.51 grams, 23.35 mm overall, 19.57 mm internal diameter (approximate size British T, USA 9 1/2, Europe 21.26, Japan 20) (1 in.). [A video of this lot is available to view on Timeline Auctions Website]From the late Alison Barker collection, 1970-1990. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12531-231455.

Dated 1889 A.D. Showing Christ Pantocrator (Lord of the Universe) making a blessing gesture with the right hand, the left hand holding the gospel, covered with an elaborate silver oklad marked 84, with repoussé and chased decoration, incised Cyrillic inscription on the Gospel, and on the bottom an incised Cyrillic inscription 'Господь Вседержитель'= Lord Almighty. Cf. similar icons in Moscow Art Centre, Artistic Treasures of Russia, Catalogue of the Icons (in Russian), Moscow, 2022, icons 67, 79, 94. 498 grams, 22.5 x 18 cm (8 7/8 x 7 in.). Property of a London, UK, gentleman collector.This fine Russian religious work depicts Christ Pantocrator, ‘Almighty’ or ‘All Powerful’. It is a compound word formed from the Greek words for ‘all’ and the noun ‘strength’ (kratos). In Orthodox Christianity, his icon is one of the most common religious images. The 'oklad', or protective covering of the icon, was made from silver, often gilt, sometimes with cloisonné enamel decorations, and always decorated with geometric floral patterns. The style of Christ recalls the work of Ivan Semenovich Gubkin, an embosser active in Russia at the beginning of 20th century.

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-5th century B.C. A section of scale armour coat composed of 162 overlapping tongue-shaped scales mounted onto a cloth panel, each with three holes to the top and some with one or two holes to the right for fastening onto the original leather backing. Cf. similar scales from Egypt, dated circa 590 B.C., in the Metropolitan Museum, discovered in the palace of Apries, accession no. 09.183.7a–v; Cernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998, pp.7ff., pl.D & E; for identical scales see Полин, С.В. & Колтухов, С.Г., ‘A Scythian Burial in a mound near the S.Nadezhda in Crimea’ and Лихачёва, О.С., ‘Elements of Scythian tradition in the complex of armament of the Altai forest-steppes population, in the 6th-3rd centuries B.C.’, in Russian Academy of science, The war and the military in the Scythian-Sarmatian world, Proceedings of International Scientific Conference in tribute to the memory of A.I. Melyukova (Kagal’nik, 26–29 April 2014), pp.119-126, and pp.162-171, pl.3, p.126, fig.2, p.165. 165 grams, 16 x 12 cm (6 1/4 x 4 3/4 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 number no.12469-231236.The favourite armour of the Scythian noblemen was composed of scales, usually protecting the torso, sometimes the entire body (kataphraktoi). The Scythians found that the most efficient method was to arrange the overlapping ‘fish-scales’ as a corselet made of a number of bronze and iron plates, which then protected the wearer against sword and spear thrusts. Our scales correspond well to bronze scales found in May 1961 in an accidentally destroyed burial in a barrow, near the village of Nadezhda Sovetsky district. They were discovered together with iron scales, a Greek Corinthian helmet, fragments of an amphora, five arrowheads and fragments of an iron sword. Most of these bronze scales were oblong in shape, with a sub-rectangular upper end and a rounded lower end, but slightly bigger than our scales.

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.

Late Helladic, circa 1400-1300 B.C. or later. Of lentoid form with domed reverse, showing a lion attacking a bull from above with its jaws and claws sunken into the bulls hindquarters, the bull shown standing with its head turned towards the lion in the act of trying to pry it off with its long horns; pierced horizontally. See similar seals in Betts, J.F., Corpus der Minoischen und Mykenischen Siegel, Band X, Die Schweizer Sammlungen, Berlin, 1980, no.218, p.193; Boardman, J., Greek Gems and Finger Rings, Early Bronze Age to Late Classical, London, 1970 (2001), nos.86 [lion attacking a goat also in red jasper], 138, 159 [agate lentoid],169 [lion attacking bull, from Mycenae],172, 182 for Minoan gems with similar scenes; see a lioness attacking a bull, in Museum of Fine Arts, Boston, lentoid shape seal (about 1470-1410 B.C.), accession no.23.576. John H. Betts, Corpus der Minoischen und Mykenischen Siegel, Band X, Die Schweizer Sammlungen, (Berlin 1980) 194, cat. nr. 219, doubted by the author. 7.45 grams, 26 mm (1 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) With Münzen und Medaillen A.G., Basel, prior 1980. 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.12465-228767.