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A collection of costume jewellery, including a vintage Christian Dior simulated turquoise yellow metal necklace, a  multi-gemstone bangle, an Alexis Bittar bangle, a Butler & Wilson blue glass flower necklace, a D'Orlan large enamel articulated fish pendant and chain, a vintage Greek mounted Drachma coin, a white metal Art deco style brooch and lapel clips, a cubic zirconia bracelet, a Bellerophon riding pegasus brooch, a pair of black enamel and yellow metal earrings, a silver red dragon carved ring, a three wise monkeys charm, a horseshoe keyring, a silver black and white Wedgewood Jasperware cameo ring, and a silver skull charm with diamond eyes. Condition Report:

plaster sculptures 15cm tall each Provenance: The estate of the artist Note 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

plaster sculpture 12cm high, 20cm long, including base Provenance: The estate of the artist Note 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

plaster sculpture, initialled and dated 1996 15cm x 17cm Provenance: The estate of the artist. Note 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

Ca. 400 - 200 BC. A Greek intaglio depicting a mythological animal which has the body of lion and the face of a human. The animal rests under a crescent moon. The intaglio sits in a gold frame that is adorned with geometric motifs and embellished flowers made of gold pellets. Size: 25mm x 20mm; Weight: 7g Provenance: Private UK collection; previously acquired on the Swiss art market in the 1990s.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 650 - 500 BC. A collection of two Corinthian vessels, a pyriform aryballos adorned with a scale motif on the larger part of the body, and a pear shaped aryballos with a dots pattern on the body and the rim; the third vessel is a Greek lekythos painted with a black glaze to the body and the rim. For similar see: MET Museum Accession Number: 37.128.1; Museo archeologico Nazionale di Napoli, Collezione Magna Grecia, CXLII. 26. inv. 264709 Size: 90-150mm x 50-65mm; Weight: 280g Provenance: Private UK collection; From an old London collection formed in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 450 - 300 BC. A Collection of three parts of an original Greek bronze statue comprinsing the right leg with marked details of the muskles and the foot. The right arm outstratched arm holding a cylindrical handle. The arm is represented with details of the hand and the skin; the left arm bent on the elbow shown with open hand. For similar see The bronzes of Riace, Reggio Calabria Museum. Size: 250-330mm x 90-120mm; Weight: 3.5kg Provenance: Private London collection since the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 200 . A cast bronze statue of Jupiter (Greek Zeus) - the bearded king of the gods standing in contrapposto with his weight shifted to his right leg, holding a himation on the left shoulder. The statue is characterised by silver inlaid eyes. A marvellous rendering, displaying the ancient sculptor's strong interest in delineating physiognomy and movement of Jupiter's divine form - with a gorgeous green and russet patina that has developed over the ages. For similar see: The Metropolitan Museum of Art, Accession Number: 22.139.37. Size: 105mm x 44mm; Weight: 266g Provenance: 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. 300 - 200 BC. A kylix vessel cast from high quality silver. This was designed as a wine cup and rests upon a foot with a loop handle that curve dramatically out and inward for the drinker to grip. This is a truly exceptional kylix, as silver would have been a tremendously scarce and valuable material during the Hellenistic period. For similar see: Group of objects said to have been found at Prusias. Greek, second half of fourth century B.C. Bequest of Walter C.Baker, 1971. Ex coll. Wilhelm Fabricius Size: 260mm x 195mm; Weight: 500g Provenance: Property of a European collector; formerly in the famous Alison Barker collection, a retired London barrister; acquired between the early1960s to 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 3000 - 2000 BC. A North Mesopotamian or central Asian, black stone stamp seal, a hemi-spheroid pierced horizontally. Design: an elaborate Greek cross with triangles filling the space. Size: 40.6mm x 40.5mm; Weight: 38.4g Provenance: 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. 300 - 100 BC. A gold lunar-shaped pendant features a crescent form, symbolising the moon, crafted with smooth, curved lines that taper at the ends. Often finely detailed with gold wires, the pendant may also have small looped attachments for suspension, allowing it to hang elegantly. For similar see: Catalogue of the Jewellery, Greek Etruscan, and Roman of the departements of Antiquities, British Museum, n. 2934. Plate LXVIII; Gli ori di Taranto, Cat. 161. Efes Artemisionu, cat. 24 Size: 46.3mm x 32.7mm; Weight: 7.79g Provenance: 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. 500 BC. A striking Chalcidian helmet comprised of hammered tinned bronze, so named as this helmet form was initially depicted on pottery believed to derive from the Euboean city of Chalcis. The Chalcidian helmet was much lighter and less cumbersome than other Greek helmets, distinguished by curved cheek pieces, this example with hinged rather than continuous cheek pieces. Beyond this coveted form is the gorgeous silvery sheen and green patina. Size: 310mm x 240mm; Weight: 830g Provenance: Property of a European collector, acquired on the Austrian art market, 1980s. 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. 300 - 100 BC. A set of glass gaming pieces, each representing the form of a sheep or goat knucklebone. The name “astragali” comes from the Greek word for the ankle bone, a traditional gaming piece shape. For similar see: The Metropolitan Museum of Art, Accession Number: 1992.266.3-10. Size: 7.9-28mm x 8.7-19mm; Weight: 27.9g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s.

Ca. 300 - 100 BC. A set of three glass astragali, each representing the form of a sheep or goat knucklebone. The name “astragali” comes from the Greek word for the ankle bone, a traditional gaming piece shape. For similar see: The Metropolitan Museum of Art, Accession Number: 1992.266.3-10. Size: 13.3-15.8mm x 12.5-13.6mm; Weight: 7.06g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s.

Ca. 330 - 250 BC. A glass pendant in the shape of a male head, depicting a strong, forward-facing visage with large eyes, a prominent nose merging with defined brow arches, and a beard. The head is adorned with curly hair. Likely representing Zeus, the chief god in ancient Greek mythology. For similar see: The Metropolitan Museum of Art, Accession Number: 17.194.578. Size: 20.7mm x 18.5mm; Weight: 2.2g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s.

Ca. AD 300 - 400. A stone 20-sided polyhedral dice inscribed with Greek letters. For similar see: The Metropolitan Museum of Art, Accession Number: 10.130.1158. Size: 70mm x 70mm; Weight: 380g Provenance: Prince collection, 1990s-2014; Ex. Rupert Wace Ancient Art Ltd., 9 October, 2003. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Art interest - in particular Greek Vase Painting, a signed copy of Diffring Sculptures and a signed (limited edition 6/110) copy of Baird's book on Thomson of Duddingston (1895)

Greek interest to include art, history and culture of the region (10)

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), MONDRIAN HEAD plaster sculpture, signed to bottom with stock number, together with wooden base 28cm high, including base Provenance: The estate of the artistNote 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), THE RABBIT plaster sculpture12cm high, 20cm long, including base Provenance: The estate of the artistNote 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), WHITE DOVE 1996 plaster sculpture, initialled and dated 199615cm x 17cm Provenance: The estate of the artist.Note 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), TWO CLENCHED FISTS plaster sculptures15cm tall each Provenance: The estate of the artistNote 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

This folio photograph album includes original conceptual art proposals from the Space Mountain Gallery, Miami. Projects include: Greek queen of the Underworld Persephone's Last Look, with pre-performance photographs, and the descriptions of its core idea and method; Whipped Cream and Other Delights (featuring the sin of gluttony) with the installation concept to be held in an art space; The performance space After Oz, featuring a reconstruction of an interactive Dorothy bedroom; and a multi-concept project featuring 1950s Biscayne Boulevard motels including The South Pacific, The Sinbad, The Shalimar, The Saturn, The Seven Seas, and other motels. Includes vintage postcards, polaroid shots, original brochures, background information and staged artistic photographs. Issued: c. 1980Dimensions: 12"L x 1.5"W x 16.5"HCountry of Origin: United StatesCondition: Age related wear. Half of the album is empty. Craquelure and minor stains on album cover.

A Roman marble portrait bust of an Antonine prince, c.140 CE, depicted as a boy, his head turned slightly to dexter, with thick, deeply carved, curling hair and draped in a tunic from the neck, the eyes with incised pupils, 27cm wide 19cm deep 41cm high,raised on a later black marble socle, 54cm high overall Provenance: Lady Geraldine Inglis of Glencorse, believed to have been acquired c.1970s or earlier; thence by descent.Literature: Klaus Fittschen, 'Prinzenbildnisse antoninischer Zeit (Portraits of Antonine Princes)', pp.58, 74. For other similar examples, see Getty Museum Collection, 'Relief Portrait of an Antonine Prince', c.140-150CE, no. 76.AA.73. The form, carving and quality of the present example is consistent with other known portrait busts of the Nerva-Antonine period. It is a portrait of a child, apparently a boy, made around the middle decades of the 2nd century CE and features, such as the 'bridges' in the thick, curling hair and treatment of the eyes, with incised pupils and irises, are apparent in other known works of that date. For an example of the latter, see 'Marble head of a boy wearing a wreath', Metropolitan Museum, New York, no. 14.105.1. The present piece recalls at first glance to be a younger version of an early Type 1 of Marcus Aurelius produced in his teens, about 139 CE, of which some twenty-five examples exist with a small, round, full-lipped mouth, see 'Bust of Marcus Aurelius', Capitoline Museums, Rome, no. 279. However, the main difference found in the present example is a lack of the stray locks hanging down the centre of the forehead. Klaus Fittschen, in his study of portraits of Antonine princes, highlights an almost identical example in the collection at Castle Howard, Yorkshire (plate p.74 a-b), suggesting that it could be an image of Marcus Aurelius Fulvus Antoninus (d. before 138 CE); one of two sons of Antoninus Pius (86-161 CE) who died very young. The scholarship on the two sons is currently limited, however, there is suggestion that there was a cult of him and his brother Marcus Galerius Aurelius Antoninus (d. before 138 CE). A named image of Galerius can be seen in a coin of uncertain Greek mint, which bears a noticeable familial similarity to the boy in the present example. In addition, there is another unnamed example that bears striking similarity to the Castle Howard bust, a 'Portrait head of a child in fine-grained white marble' in the collection of the Museum of Archaeology and Art of Maremma, Tuscany, with another two identical portraits cited by Wegner in Trier, at the Rhineland State Museum collection, no. 29238, and in Copenhagen, Ny Carlsberg Glyptotek, no. 3358. With the possible existence of five identical portraits of the young boy, it is reasonable to suggest that, even if the attributions are not definitive at this point, the sitter must have been a person of great significance. Condition ReportSome old areas of minor loss to the carving of the hair. The nose with three small old losses, and cross-hatched score marks. Some old scratches, tiny chips and pitting to the face, which has probably been cleaned. Traces of gold paint in places. White paint flecks to the face, with a trailing line over the lips. Some chips and losses to the folds of the robe, with some cracking in places, although the whole piece is structurally stable. Evidence of an old wax surface coating. The base of the bust has evidence of the remnants of the previous integral socle. Currently on a later socle, to which it fixed, however there is a little wobble at the join. Some dirt and dust. Please see additional photos for further reference to condition, and please contact the department for more information.

A Greek Hellenistic marble head of Aphrodite, c.3rd-2nd century BCE, with softly carved features, large almond eyes and full lips, framed by wavy centrally parted hair,7cm wide8cm deep11cm high, mounted on a metal stand,20cm high overallProvenance: Acquired from Bruno Cooper Works of Art, Norwich, 14 November 2000; a private collection.Condition ReportSurface wear, dirt and patina. Some old losses, including to the tip of the nose. Overall structurally stable and solid on its display plinth.

A Soviet-era educational poster featuring the major gods of Greek mythology, including Zeus, Hades, Hera, Athena, Dionysus, Aphrodite, Ares, Apollo, Artemis, and others. Illustrated in a distinctive Soviet style, this poster captures the grandeur of Greek deities for educational purposes. Authored by G.I. Godler and illustrated by L.M. Goldberg, both esteemed contributors to Soviet historical and mythological education. Size: 59 cm by 89 cm. Paper condition should be evaluated from the provided photos. This rare, collectible poster is perfect for enthusiasts of mythology and Soviet-era educational art.

Desktop notebook. On an onyx pedestal. The top hinged cover is made of silver in the form of a notebook cover with elegant slotted silver hinges in the Art Nouveau style. in a rectangular box. Assay mark in an oval shield in the form of the letter of the Greek alphabet alpha, the head of a girl, in a kokoshnik, oriented to the right and the Russian assay of silver 84 - (Petersburg Assay Office, 1908-1926). Dimensions: 19x10x2.5 cm; weight - 300 gr. Russian Empire, St. Petersburg, after 1908. Unknown master. Silver, casting, engraving, perforation. Onyx. In good condition. Traces of existence Width: 10cm, Height: 19cm, Depth: 2.5cm, Weight: 0.3kg, Condition: Signs of wear commensurate with age, Material: Silver 84, ID: ID-ANTQ-8192

Two sets of six Asprey & Company Ltd. retailed silver coffee spoons, by John Sanderson & Son Ltd, Sheffield 1973, engraved with Greek key decoration to front of stem, in fitted Asprey & Company Ltd, boxes, together with a set of six silver coffee spoons in the Art Deco taste, with two-tone blue guilloche enamel finials, by Haseler & Restall, Birmingham 1947, in fitted case. (total gross weight 164.4g)  

Leonard Baskin, American 1922–2000 - Prometheus, c.1948; carved oak, H49 x W46 x D44 cm Provenance: The Bertram N. Linder and Mary Ellen Linder Marital Trust, New York; Bonhams, New York, Modern and Contemporary Art, New York, 9th November 2010, lot 122; Pyms Gallery, London, purchased from the above Literature: Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.210, illus. p.28; 'New Foundations', vol.2, no.1, Fall 1948 (according to Irma B. Jaffe, 1980 - this edition included a number of photos of Baskin's early work) Note: this early masterpiece by the artist was made while he was studying at the New School in New York, where he had returned following the Second World War and his experiences serving with the Armed Guards. ‘Prometheus’ is a brilliant early example of Baskin’s ability to grapple with a classical myth with originality; his Prometheus a muscular worker, ready to steal the fire of creativity from the oppressive gods. The work is a summation of his aesthetic and political principles at this early stage in his career, and he would return to such themes of individuality and defiance, worked through narrative Classical and Old Testament narratives throughout his life. Prometheus defied the Olympian gods in Ancient Greek mythology by stealing fire and giving it to humanity in the form of knowledge and creativity. Baskin saw in this myth a sense of the role of the artist to defy and inspire, particularly relevant aesthetically at this point in his career in his choice to work in a figurative style, as opposed to Abstract Expressionism. Baskin would revisit the theme in illustrations for the poetry collection 'Prometheus on His Crag' by Ted Hughes and in a woodcut of 1950 now in the Philadelphia Museum of Art, as well as later bronzes. Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.

1st century B.C.-2nd century A.D. Carved in the round as a torso of a slender female with hips turned, probably in contrapposto pose; mounted on a custom-made display stand. See Pryce, F.N., Smith, A.H., Catalogue of Greek Sculpture in the British Museum, London, 1892-1928; cf. Jules Formigé, ‘Note sur la Vénus d'Arles’, in Comptes rendus des séances de l'Académie des inscriptions et belles-lettres, 55,8, 1911, pp.658-664; La Rocca, E., Le tranquille dimore degli dei (catalogo mostra), Roma 1986, pp.79-82, on the Esquiline Venus; Favaretto, I., Menegazzi, A., Un museo di antichita’ nella Padova del Cinquecento. La raccolta Marco Mantova Benavides all’Universita’ di Padova, Roma, 2016. 23.4 kg total, 44 cm including stand (17 1/4 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]Ex private collection. with Artemis Gallery, Munich, Germany, early 1990s. Acquired from the above, 1999. Private European collection. 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 a search certificate number no.12101-218196.

2nd-1st century B.C. With hollow-form hoop widening towards the shoulders, raised bezel set with a round intaglio, engraved with an image of a satyr or kneeling nude warrior on a baseline, wearing a Boeotian-style helmet pushed back, holding a spear in one hand and an object in the other; a marriage. Cf. Marshall, F. M., Catalogue of the Finger Rings Greek, Etruscan and Roman in the Departments of Antiquities of the British Museum, London, 1968; Spier, J., Ancient Gems and Finger Rings, Malibu, 1992, figs.50, 112 (crouching warrior); Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 87, for type of ring; item 123, for the type of ring and the image of a crouching warrior; Boardman, J., Greek gems and finger rings, London, 2001, fig.213. 2.91 grams, 23.57 mm overall, 19.25 mm internal diameter (approximate size British O 1/2 , USA 7 1/4, Europe 15.61, Japan 15) (1 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.12322-223716.The scene possibly alludes to the incident in the Trojan Cycle where Achilles is wounded by an arrow in his heel, the only part of his body which was not impervious to injury.

2nd century A.D. Carved fragment with a female tragedy theatre mask modelled in the half-round, features strongly delineated, eyes detailed with small cylindrical pupils; the hair sculpted on the upper part with rich locks fastened by a taenia, divided into regular rows falling stiffly on the forehead and down along the sides, bound by laces, open mouth in an expression of sorrow. For a similar example s. Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos. 328 (1207). 30 kg, 51 cm (20 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12362-226705.The mask is known to have been used in tragic theatre since the time of Aeschylus (first half of 5th century B.C.) and considered to be one of the iconic conventions of classical Greek theatre. Masks were also made for male members of the chorus, who play a part in the action and provide a commentary on the events in which they were caught up. The theme of decorative tragic masks as architectural elements passed from the Greek to the Roman culture and is largely visible in all the corners of the Roman Empire. However, these colossal heads are typical of the great architecture of temples and theatres of Roman Asia Minor, and the style and workmanship of this wonderful fragment of frame can be traced back to Hadrian’s era. The face suggests an architectural use, perhaps as a corbel or a lintel.

19th-20th century A.D. Comprising a rhomboid hoop and inset an amethyst cabochon, with intaglio portrait bust of a king or god (Herakles?) looking right. Cf. for the original Greek prototype of portrait Spier, J., Ancient Gems and finger rims, Malibu, 1992, fig.234 (banded Heracles); for the 19th shape of ring cf. Chadour, A.B., Ringe/Rings, Die Alice und Louis Koch Sammlung/The Alice and Louis Koch Collection, volume II, Leeds, 1994, fig.1158; for the neoclassical portrait Scarisbrick, D., Wagner, C., Boardman, J., The Beverley Collection of Gems at Alnwick Castle, The Philip Wilson Gems and Jewellery Series, London, 2016. 5.87 grams, 25.14 mm overall, 19.14 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18) (1 in.).From a private family collection formed since the early 19th century, thence by descent. Property of a New Zealand legal professional. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12330-223720.The engraved head probably is depicting a Greek king or a Roman emperor from the Antonine Dynasty of the 2nd century A.D. The style of engraving does not assist with making a firm identification, but a cameo with a similar subject is in the Guy Ladriére collection and the head is attributed to Emperor Hadrian (Scarisbrick, Wagner, Boardman, 2016b, no. 40). The subject was extremely popular in modern times, and identification with Heracles is also possible.

Early 2nd millennium B.C. Square in section and pierced longitudinally, incuse scene to each face: labrys above a tree; starburst between hatched panels; arrow, axe and other objects; figure above an axe. Cf. similar in the British Museum under accession no. 1921,0711.2 for similar multi-face seal.; see Boardman, J. Greek Gems and Finger Rings: Early Bronze Age to Late Classical, London, 1970, p. 35, fig. 56 for type. 3.99 grams, 18 mm (5/8 in.).From the Priday collection, Brookmans Hall, Hertfordshire, UK, formed 1930-1940s onwards by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12385-225393.

1st-3rd century A.D. Comprising a square-section tapering body with lateral stub arms; head of Mercury (Greek Hermes) above with applied twisted gold collar, low-relief shoulder panels, genitals modelled in the round, low-relief horned figure below. Cf. similar figure of earlier date in the British Museum under accession no.1912,1125.13. 27 grams, 52 mm (2 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Acquired in the mid 1980s-1990s. From the family collection of Mr S.A., Switzerland, thence by descent. Private collection since the late 1990s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12103-218207.This object, was likely votive and perhaps belonged to a small domestic altar of the Roman imperial era, reproduced in miniature size a Hermaic pillar. These were terminals made of stone or wood which were often placed on the roads, near crossings; they served to indicate the right path and therefore were supposed to protect travellers when travelling. In Roman times, these pillars were often topped with busts or portraits and were also found in the gardens of wealthy homes; gods (Hermes and Bacchus in particular) or philosophers were the subjects thus represented.

19th century A.D. Comprising a painted board with mounting panel and slots to the reverse, gessoed surface with painting of St John the Baptist standing nimbate with wings spread behind him, left hand supporting a bowl containing his severed head and holding an unfurled scroll with Cyrillic text 'Repent ye, for the Kingdom of Heaven is at hand,' (Matthew 3:2); right hand raised in blessing; landscape with sand-dunes and trees; gilded title above; the upper border with gilt Slavonic inscription reading 'Holy John the Forerunner'; from the Palekh Icon School, probably made in Mstera circa 1890. See Zinoviev, N., Art of Palekh, Leningrad, 1968. 1.02 kg, 31 cm high (12 1/4 in.).Ex property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate no.11546-196366.The Palekh icon school emerged in the 17th century, inspired by the Moscow and Suzdal traditions of icon painting. Although preserving many features of traditional Russian iconography, the school created its own style that remained active into the 18th century. The hallmarks of the school include the frequent use of gold on the clothes of the saints and a rich palette. Bodies are shown as tall and slender and abrupt transitions between light and shadow are distinctive features of Palekh icons. The wings of Saint John derive from the double meaning of the Greek word used to describe him in Mark 1:2 - Angelos, meaning both messenger and angel. John is often called a 'Heavenly Man' and 'Earthly Angel' in Orthodoxy. At his feet is shown a small tree with an axe cutting into it, illustrating Luke 3:9, 'And now also the axe is laid unto the root of the tree..'

Early 18th century A.D. Painted on a wooden board with gessoed surface, tempera on wood panel with the recess executed on a gold ground in three registers: above, Deisis with Christ Pantocrator carrying the Gospel, flanked by the Virgin Mary and St John the Baptist; middle, with three bearded saints with their names written in Greek beside them: Aghios Charalambos, Aghios Nikolaos and Aghios Pantaleimon, the first two holding holy books and one the third holding a child; bottom, two mounted military saints, St George attacking a dragon with spear, and St Demetrius trampling the King of Avars. Cf. for similar icons Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999, cat.99. 1.8 kg, 26.8 x 35.5 cm (10 1/2 x 14 in.).Ex Henry's Auction, Berlin, Germany. From an important collection of icons. 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.12343-224612.Here, according to local Greek traditions, the icon is enriched with images of three important saints: among them St Pantaleimon, holding a child in his arms. According to the legend, one day the Saint found a dead child on the street who had been bitten by a snake, which was still beside the child’s body. Pantaleimon began to pray for Jesus to revive the dead child and to destroy the venomous reptile, believing that if his prayers were fulfilled he would become a follower of Christ. His prayers were fulfilled and the child rose up alive, and the snake died before Pantaleimon’s eyes.

6th-8th century A.D. With a D-section hoop expanding at the shoulders, oval bezel with Greek inscription. 4.64 grams, 22.82 mm overall, 19.21 mm internal diameter (approximate size British Q 1/2, USA 8 1/4, Europe 18.12, Japan 17) (7/8 in.).Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of Surrey, UK, gentleman.

17th century A.D. An icon of Saint Nicholas of Mira, tempera on wood panel, the central part of the composition depicting Saint Nicholas with an open book in his left hand showing an excerpt from the Gospel of Luke (VI.17) in which Christ is preparing for the Mount of Beatitudes sermon; Saint Nicholas shown blessing, dressed as a bishop, with a white sticharion, covered by a red omophorion, and surmounted by a white epitrachelion embroidered with black crosses; the saint flanked by Jesus and Virgin Mary, respectively on dark blue and red background; Christ holding the Gospel, Mary the bishop’s epitrachelion; in horizontal registers, left to right, and top to bottom, are depicted scenes of the saint’s life: Nicholas's birth; his baptism; Nicholas healing a woman; beginning his studies as a priest; the saint being appointed deacon; the saint invested in the priesthood; his ordination to Episcopacy; Nicholas appearing in dreams to Patriarch Ablabius and Emperor Constantine to persuade them to free three prisoners (two scenes); Nicholas saving the three prisoners from the death sentence; Nicholas rescuing three generals wrongly imprisoned; the saint chopping down a tree possessed by a demon; the saint calming a storm at sea; Nicholas rescuing the boy Basil from captivity; the Dormition of St Nicholas; the saint saving a boy from drowning in Kiev; Cyrillic inscription on the right and left side of the central image reading Никола́й Чудотво́рец = Saint Nicholas the wonderworker. Cf. for similar icons, the icon of Palazzo Pitti, Firenze, inventory no.1890 no.9323; Piatnitsky, Y., Baddeley, O., Brunner, E., Mundell Mango, M., Sinai, Byzantium, Russia, Orthodox Art from the Sixth to Twentieth Century, London, 2000, fig.R25 p.273; Dumitrescu, M., ‘The Hagiographical Icon of Saint Nicholas in the Church of Michael the Brave from Ocna Sibiului. Iconographic, Artistic and Technical Issues’ in Anastasis. Research in Medieval Culture and Art, Vol.VI, Nr.1, May, 2019, pp.59-78; for the church garments see Houston, M. G., Ancient Greek, Roman and Byzantine Costume and Decoration, London, 1977, pp.162ff., esp.fig.72. 17.6 kg, 89 x 110 cm (35 x 43 1/4 in.).Ex Stair Galleries, New York, USA. From an important collection of icons. 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. 12341-224608.Saint Nicholas lived in 4th century A.D. and was the bishop of Myra, in the Roman Asia Minor. Because of the many miracles attributed to his work, his cult was widespread in the Orthodox world and he is known as Nicholas the wonderworker. His reputation as a secret gift-giver (such as putting coins in the shoes of those who left them outside, or the dowry given to three maidens saving them from prostitution) created a model for Santa Claus. The veneration of the saint, who participated in the Council of Nicaea of 325 A.D., began very soon after his death.

1st-2nd century A.D. Hollow-formed life-size club with tubular handle and flared rim, shank with series of regularly-placed knop projections on piriform pads, domed end; mounted on a custom-made display stand. Cf. Rolland, H., Bronzes Antiques de Haute Provence XVIII, Paris, 1965, no.100, for a figure with similar example; for the iconography of Hercules with such club see Reinach, S., Répertoire de la statuaire grecque et romaine, Paris, 1897, p.207, no.8, 208, nos.6,8; the typology is the one of the Hercules Capitolino (Capitolini Museums, inv. MC1265) or Farnese, where the hero is resting upon his club, see Reinach, 1897, pp.209ff.; Haskell, F., and Penny, N., Taste and the Antique: The Lure of Classical Sculpture 1500-1900, Yale, 1981, p.227, Cat.no.45. 4.73 kg total, club: 55 cm (21 5/8 in.).[A video of this lot is available to view on Timeline Auctions Website]Formerly in North American collection, 1990s. From an Austrian collection, acquired in London from UK collector in early 2000s. From a London gentleman's collection, 2000s. 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.12345-225411.Like the famous statue of Hercules in gilded bronze (the so called Hercules from the Forum Boarium), today at the Capitoline Museums (Palazzo dei Conservatori), this club would have come from a temple dedicated to the Greek hero. The Mastai Hercules, at the Vatican Museum, shows a similar club. The presence of a large handle in our piece confirms that the club was held with the right hand in resting position, and that the typology of Hercules was probably one of the two models.

2nd-3rd century A.D. Modelled in the round with three heads facing in different directions, and with a pair of snakes wound round the body as a harness; mounted on a custom-made stand. Cf. similar item in the British Museum under accession no.1919,0620.8. 77 grams total, 63 mm including stand (2 1/2 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.In Greek mythology, Cerberus, often referred to as the hound of Hades, was a multi-headed dog that guarded the gates of the Underworld to prevent the dead from leaving. His figure is linked to the myth of Orpheus, the only one who managed to tame him with his songs, and to the myth of Hercules, the only one who managed to capture him.

2nd century B.C.-2nd century A.D. Depicted as a standing eagle with closed wings, long striated tail extending to the small pedestal; with detailing to wings, beak, eyes and feathers; a filigree collar with small medallion around the neck; holding a small rabbit in its claws; suspension loop to the back. Cf. Heath, J., ‘The Omen of the Eagles and Hare (Agamemnon 104-59): From Aulis to Argos and Back Again’ in The Classical Quarterly, Vol.51, No.1 (2001), pp.18-22; for Graeco-Roman pendants eagle-shaped (earrings or necklaces parts) see Marshall, F.H., Catalogue of the Jewellery, Greek, Etruscan, and Roman, in the department of Antiquities, British Museum, London, 1911, nos.1930, 1933. 2.83 grams, 27 mm (1 in.).From a private family collection formed since the early 19th century, thence by descent. Property of a New Zealand legal professional. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12329-223711.The motif of an eagle and hare is linked with the Trojan Myth. On their way towards Troy, the two brothers Agamemnon and Menelaus, the Atreides, saw two eagles swoop down upon a pregnant hare and tear her to shreds. They interpreted it as a good omen: the two eagles were the warrior brothers, and the hare Troy.

Circa 6th century B.C. Comprising a broad hoop of gold filigree ropework with wire borders, applied filigree rosette to underside; rectangular plaque with band of filigree loops to both long edges, applied filigree meander to centre; two hollow-formed model stags' heads each with applied filigree meander to both sides of the neck and to the spine, filigree and granule facial and other features, filigree antlers; disc dangle and filigree shank and hoop attaching to right stag's head. Cf. Marshall, F.H., Catalogue of the Jewellery, Greek, Etruscan and Roman, in the Department of Antiquities, British Museum, London, 1911, items 1166, 1228-1230, for type of jewellery with similar rosettes and filigree work; similar forms of rosette and filigree work in gold jewellery of the period in Despini, A., Greek Art. Ancient Gold Jewellery, Athens, 1996, e.g. pl.5, p.52 (earring with identical rosette); see also Castor, A.Q., ‘Archaic Greek Earrings: An interim survey’ in Archäologischer Anzeiger, 2008,1, pp.1-34. 7.59 grams, 38.13 mm overall, 18.63 mm internal diameter (approximate size British P 1/2, USA 7 3/4, Europe 16.86, Japan 16) (1 1/2 in.).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 number no.12355-225025.The presence of stags on the ring is a clear reference to the cult of Artemis, the hunting goddess, whose favourite animal was the deer. A particular cult of Artemis was celebrated at Brauron, in Attica. According to some stories, this was the place where Iphigenia, daughter of Agamemnon, was sacrificed to the goddess after Agamemnon offended the goddess by killing one of her sacred stags.

4th-3rd century B.C. With flat-section handle and rim; finial formed as a pair of ducks' heads; bowl absent. Cf. Richter, G.M.A., The Metropolitan Museum of Art, Greek, Etruscan and Roman Bronzes, New York, 1915, no.652, for similar. 123 grams, 28 cm (11 in.). [No Reserve]Ex property of the late Mr S.M., London, UK, 1969-1999, thence by descent.

6th-8th century A.D. Slender hoop and disc bezel with Greek text ΥΠΕΡ ΥΓΙΕΙΑΣ (in favour / for health' written retrograde for use as a seal. 1.66 grams, 21.53 mm overall, 19.44 mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12) (3/4 in.). [No Reserve]UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman.

12th-14th century A.D. Comprising a flat-section body and integral suspension loop, Greek inscription to the upper face. 3.74 grams, 32 mm (1 1/4 in.).Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of Surrey, UK, gentleman.

20th-21st century A.D. Comprising: Eskenazi - Chinese Ceramics, Lacquer and Gold from the 12th to the 14th Century - London, 2023, hardback with dustwrapper, 91 pp, colour plates; Raimund Wünsche - Glyptothek, Munich, Masterpieces of Greek and Roman Sculpture - München, 2007, card covers, 220 pp, colour and monochrome; Jerome Eisenberg - Art of the Ancient World. Volume II - New York, 1966, card covers, 64 pp, monochrome images, ex library; Münzen und Medaillen - Sonderliste N - Attische Rotfigurige Vasen - Basel, 1971, card covers, 76 pp, monochrome; David Ghezelbash - Thirty Gemstones from Gallery David Ghezelbash - London, 2021, hardback with dustwrapper, 86 pp, colour. 2.93 kg total, 23 x 15.5 - 33.2 x 25.5 cm (9 x 6 1/6 - 13 x 10 in.). [5, No Reserve]Property of a central London, UK, gentleman.

6th-8th century A.D. Formed as a fist with transverse hole, Greek legend to the flat end. 8.3 grams, 22 mm (7/8 in.).From the collection of a gentleman, acquired on the London art market in the 1990s.

7th-6th century B.C. Standing nude with arms held straight at the sides, hair curled up at the edge; probably a monumental fitting; mounted on a custom-made stand. See Mitten, D.G. & Doeringer, S.F., Master Bronzes of the Classical World, New York, 1968, pp.51-52, figs.33, 34, for type. 158 grams total, 11.2 cm including stand (4 3/8 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.The small statuette is that of a naked youth, the so-called kouros, typical of archaic Greek sculpture of the 7th century B.C. Such representations underwent simplification in the early years of the 6th century B.C. with the Archaic smile transformed into something more akin to a grimace

Hellenistic, 2nd-1st century B.C. Each a hollow-formed female head with stephane to the brow, granulated collars flanking biconvex bulbs, tapering twisted shank curved to meet the gussetted loop above the head. Cf. Marshall, F.H., Catalogue of the Jewellery, Greek, Etruscan and Roman, in the Department of Antiquities, British Museum, London, 1911, item 1706, for type. 5.93 grams total, 25-28 mm (1 - 1 1/8 in.). [2]From the collection of a gentleman, acquired on the London art market in the 1990s.

Heaphy (Thomas, 1775-1835) Portrait of an art collector or dealer, full-length, as yet unidentified, standing beside a portfolio of drawings and various antiquities, watercolour and bodycolour, over pencil under-drawing, signed and dated '1823' in the lower left corner, sheet 593 x 415 mm (23 3/8 x 16 1/4 in), under glass, laid onto board, minor scuffs, framed, 1823Provenance:Collection of John and Eileen Harris*** The drawing held in the hand of the gentleman appears to be a portrait of the English architect, Inigo Jones (1573-1652), while the classical statue is a reproduction of the "Apollino" in the Uffizi, Florence, and the vase a Grand Tour interpretation of a Greek red-figured krater.

Classics. Plutarch’s Lives in Eight Volumes. Translated from the Greek with Notes Historical & Critical from M. Dacier. London. J. Tonson. 1727. 8 Volumes all respined; Horace. The Odes, Epodes and Carmen Seculare in Latin and English with Critical Notes collected from his best Latin and French Commentators by the Rev Mr Philip Francis. London. A. Millar 1743. 2 vols with Vol III The Satires 1746 and Vol IV The Epistles and Art of Poetry 1746. Spines rubbed and labels chipped. (12)

JEAN VARDA (TURKISH/AMERICAN, 1893-1971)Fish in underwater scene signed 'J. Varda' (lower right) and inscribed 'No. 10' (to backboard) mixed media collage on board 40 x 49.5cm ARR Provenance Private collection, UKFootnoteJean 'Yanko' Varda was a Turkish born American artist of mixed Greek and French descent. At the age of 19 he moved to Paris where he met Picasso and Braque, before moving to London during the First world War, becoming a ballet dancer, and then returning to Paris by 1922. He subsequently spent many summers in Cassis in the South of France, sharing Roland Penrose's home Villa Les Mimosas, where they hosted many creative guests including Braque, Miro, Derain, Max Ernst, Roger Fry, Duncan Grant and others. He spent most of his winters in this period in London.During the 1930s Varda developed a type of mosaic using pieces of broken mirrors, which he would scratch and then paint in bright colours. He exhibited work in London and Paris and, once he had moved to The United States in 1939, in New York, at the Neumann-Willard Gallery. He later moved from New York to Big Sur and Monterey, his home in the latter becoming a haven for artists and writers during the Second World War. In the 1940s Varda developed his style, moving from mosaics to collage, usually combining scraps of cloth and paper with paint on board. In the late 1940s Varda and the British artist Gordon Onslow Ford acquired an old ferry boat, the Vallejo, permanently mooring it in Sausalito, across the Golden Gate Bridge from San Francisco, and adapting it for their artist's studios and also providing living quarters. Varda continued to create art, mostly collages, throughout his life before he died in 1971 from a heart attack in Mexico City.

JEAN VARDA (TURKISH/AMERICAN, 1893-1971)Spanish dancers in an abstract landscape signed 'J. Varda' (lower right) and inscribed 'No. 16' (to backboard) mixed media collage on board 53 x 73cm together with a ring-bound file with information on the artist compiled by the vendor ARR Provenance Private collection, UKFootnoteJean 'Yanko' Varda was a Turkish born American artist of mixed Greek and French descent. At the age of 19 he moved to Paris where he met Picasso and Braque, before moving to London during the First world War, becoming a ballet dancer, and then returning to Paris by 1922. He subsequently spent many summers in Cassis in the South of France, sharing Roland Penrose's home Villa Les Mimosas, where they hosted many creative guests including Braque, Miro, Derain, Max Ernst, Roger Fry, Duncan Grant and others. He spent most of his winters in this period in London.During the 1930s Varda developed a type of mosaic using pieces of broken mirrors, which he would scratch and then paint in bright colours. He exhibited work in London and Paris and, once he had moved to The United States in 1939, in New York, at the Neumann-Willard Gallery. He later moved from New York to Big Sur and Monterey, his home in the latter becoming a haven for artists and writers during the Second World War. In the 1940s Varda developed his style, moving from mosaics to collage, usually combining scraps of cloth and paper with paint on board. In the late 1940s Varda and the British artist Gordon Onslow Ford acquired an old ferry boat, the Vallejo, permanently mooring it in Sausalito, across the Golden Gate Bridge from San Francisco, and adapting it for their artist's studios and also providing living quarters. Varda continued to create art, mostly collages, throughout his life before he died in 1971 from a heart attack in Mexico City.

FOUR ISLAMIC ART REFERENCE BOOKS comprising A. S. Melikian-Chirvani, Islamic Metalwork from the Iranian World; Sheila R. Canby, Shah Abbas: The Remaking of Iran; K. Zipper and C. Fritzsche, Oriental Rugs Volume 4: Turkish; S. B. Krody, Embroidery of the Greek Islands and Epirus Region

Ca. 400 - 200 BC. A silver Greek applique depicting the face of the Gorgon named Gorgoneion, with hammered decoration to the verso, there are two holes which were used to affix the applique with short nails. Size: 22mm x 25mm; Weight: 2.6g Provenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

Ca. AD 800 - 1200.A Byzantine stamp seal with a flower-shaped bezel inscribed with Greek letters. The inscription is in four registers and is framed with a line of dots on the bezel's edge. The back is decorated with petal shapes and a round hoop to hold a chain or rope. In Byzantine society, stamp seals facilitated various bureaucratic, commercial and administrative activities by providing a secure and authentic means of verifying official documents, letters, and contracts. Additionally, they represented an individual or family's lineage, status, and affiliation.Size: 15mm x 16mm; Weight: 7gProvenance: Property of London gallery, acquired on the Austrian art market.

Ca. 400 - 200 BC. A Greek bronze ring with a round hoop enlarged on the shoulders to form an oval bezel. It is adorned with a profile of Pegasus with outstretched wings. For similar see: El Legado de Hefesto, n. 95. Size: D:17.32mm / US: 7 / UK: N 1/2; Weight: 3.1g Provenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

Ca. 800 - 500 BC. A Greek bronze age spearhead. The mid-rib features a raised central ridge and a long socket cone. This is a good example of late Bronze Age workmanship with an aesthetically shaped blade. Size: 240mm x 50mm; Weight: 140g Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 800 - 500 BC. A Greek bronze age spearhead. The mid-rib features a raised central ridge and a long socket cone. This is a good example of late Bronze Age workmanship with an aesthetically shaped blade. Size: 310mm x 40mm; Weight: 230g Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.