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Ca. AD 193 - 211 . A Roman over the life-sized head of Septiumius Severus depicted facing forward with the thick curling hair falling in four pronounced curls over the brow, the characteristic long parted beard with drilling to the corkscrew locks, with a thick moustache, set on a strong, well-defined neck. He wears high-relief laurel crown adorned with the imperial eagle in the centre. For similar see: Torlonia collection, Cat. 19, p. 162. Size: 770mm x 340mm; Weight: Plus 25kg Provenance: Property of an Art Professional, acquired on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. AD 100 - 300. An exquisite ancient Roman phalera featuring the head of Medusa. The bronze face has silver inlaid eyes. She has a slightly open mouth and snakes tied in a Hercules knot below her chin. Her finely modeled hair is swept back from her face. The back of the appliqué is hollow and unadorned. For similar see: Harvard Art Museum, Object Number 2001.191 ,2001.182. Size: 57.6mm x 58.7mm; Weight: 126.43g Provenance: Private UK collection; From an old British collection formed in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

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. AD 200 - 400. A gold intaglio ring with a D-section round hoop enlarged on the shoulders to form a bezel securing an agate cameo depicting a Roman lady in profile with long hair gathered in a chignon. For similar see: La collecione Colisani, La Glittics, cat. 20, p. 97; Museo Nazionale archeologico di Napoli, n. inv. 25850; British Museum, Museum number 1923,0401.1086. Size: D:18.54mm / US: 8 1/2 / UK: Q 1/2; Weight: 5.4g Provenance: Private UK collection; From an old British collection formed in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. Late 3rd century BC. A colourless cast glass skyphos with a deep, tapered body supported by a short stem with wheel-cut bands, resting on a circular foot. Below the rim, on opposite sides, are loop handles with projecting thumb and finger rests. For similar see: Eisen G., Glass, Its Origin, History, Chronology, Technic and Classification to the Sixteenth Century, vol. 1, New York, 1927, p. 91, pl. 15; The Louvre Museum, Entry number: MNC 1633. A similar example sold for £12,000 at Bonhams, Antiquities, 1 May 2008, Lot 122.; A Study of Hellenistic and Early Roman Glass in Jerusalem in excavated sites, Thesis of Mandy Kelley. PL. 25.5 OC/J. Size: 140mm x 90mm; Weight: 145g  Provenance: Private London collection, acquired on the European art market pre 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. 

Ca. AD 100 - 300. A Roman Jupiter statuette. The statuette stands dynamically in counterpoise and is shown nude. Jupiter is portrayed with an athletic figure and a divine visage comprised of a furrowed brow, a noble nose and petite lips. His face is framed with a bushy coiffure, short beard and a wreath of oak leaves. His left arm was raised, most likely having previously held a sceptre, while his right hand is lowered. Size: 100mm x 45mm; Weight: 190g Provenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

Roman Period, 30 BC - AD 200. A grasshopper amulet, carved from translucent quartz, modelled round and pierced for suspension. The piece features naturalistic details, especially in the wings and muzzle. Size: 50mm x 15mm; Weight: 10g Provenance: Prince collection, 1990s-2014; Ex. Christie's, 13 Dec. 2002, Ancient Jewelry, Lot 534. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 300. A fragment of a blue glass cage cup with moulded decoration and incredible iridescence. It most likely depicts a ceiling and a column with arches. Glass vases of this kind were the ultimate expression of Roman glass art and were highly prized products created for the social elite. For similar see: The Metropolitan Museum of Art, Accession Number: 26.60.95. Size: 65mm x 40mm; Weight: 20g Provenance: Prince collection, 1990s-2014; Ex. J. Barak, July, 2009. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Graeco-Roman, Ca. 31 BC - 395 AD. A faience votive model or incense burner in the form of a column with a central piercing hole. For similar see: Indiana University Art Museum, Accession Number: 92.483; Petrie Museum Accession Numbers: UC35357, UC35358, UC35359, and UC35360. Size: 40mm x 40mm; Weight: 65g Provenance: Prince collection, 1990s-2014, acquired from Arteas Ltd, Laura Bosc de Ganay.

Oriosa; 17Jewels Incabloc Diamond Set Art Deco Ladies Wristwatch, the signed dial with black Roman numerals at half and hourly, baton markers, within a brilliant cut diamond and stone set surround, to plain case stamped indistinctly to inner (movement unsigned), on a later black leather strap.

WILLIAM LINNELL (BRITISH 1826 - 1906), FLOCKS FROM THE MOUNTAIN oil on canvas, signed and dated 1871, titled label verso framedimage size 102cm x 158cm, overall size 122cm x 178cm Handwritten labels verso Provenance: Private Scottish collection.Note: William Linnell was a British painter and draftsman. London born, he was the son of the painter John Linnell (1792-1882). Linnell is particularly noted for his 1840 drawing of Smugglerius, which is an écorché sculpture of a man posed in imitation of the ancient Roman sculpture known as the Dying Gaul. His work is held in the permanent collection of the Fitzwilliam Museum at Cambridge University, the Tate Museum in London, and the National Gallery of Art in Washington, D.C..

Reg Butler (1913-1981) bronze, "Ophelia L", 1955-56, 50cm high (8 of 8), together with Gallery Pangolin receipt and certificate dated January 2020  From the collection of the late Maurice Costley  Reg Butler studied and lectured at the Architectural Association School of Architecture in London from 1937 to 1939.  A conscientious objector during World War Two, he was exempted from military service and set up a blacksmithing business repairing farm tools. He became one of the best known sculptors of the 1950s and 1960s, and taught at the Slade School of Art. Many of his works are in the collections of the Museum of Modern Art in New York and the Tate Gallery in London. Condition Report

Geramia Discanno (Italian 1839-1907): Pompeii Frescos of Putti and Amorini, set seven 19th century lithographs with hand-colouring pub. 'Pompeii, House of the Vettii, Piccoli Amorini', Italy c.1890 max 18cm x 50cm (7)Notes: Discanno was an Italian genre and landscape painter, who collaborated with archaeologists, lithographers and art historians to record the wall paintings in the Roman ruins of Pompeii and Herculaneum that were being excavated at the time.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), SAFE HARBOUR oil on board, signed, titled versoframed and under glassimage size 26cm x 26cm, overall size 45cm x 45cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), ST MONANS oil on board, signed, titled versoframed and under glassimage size 26cm x 26cm, overall size 41cm x 41cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), PUFFER acrylic on board, signed, titled versoframed and under glassimage size 13cm x 15cm, overall size 32cm x 34cmNote: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), BEN MORE FROM IONA FORESHORE oil on board, signed, titled versoframed and under glassimage size 57cm x 51cm, overall size 77cm x 72cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), SPRING COMPOSITION oil on board, signed, titled versoframed and under glassimage size 26cm x 26cm, overall size 46cm x 46cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), FLOWERS, POOLE POT & LEMONS oil on board, signed, titled versoframed and under glassimage size 51cm x 41cm, overall size 72cm x 62cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

Art Deco 9ct gold keyless winding open faced pocket watch with subsidiary seconds dial, blued hands, black Roman numerals, silver dial and 15 jewel movement, case diameter 44mm, serial number 312479, 51.9g. 

Large Collection of British and World Coins, including 405g of Pre 47 Silver, 1881o Morgan Dollar, Victorian 1887 Double Florin (ex-mount), Double Headed George VI Halfpenny (WW2 trench art), British and World Banknotes, Un-used Elizabeth II stamps, Large number of Commemorative Crowns, Bronze Roman Coin, Commemorative £5, £2 & £1 coins with other coins. In one felt lined wooden box.

Happel,E.W.: Der Teutsche Carl, Oder so genannter Europaeischer Geschicht-Roman Auf Das 1689. Jahr; Darinnen Die Merckwürdigsten Geschichten an Wundern, Krieg, Estats-Sachen, Glück- und Unglücksfällen... ordentlich beschrieben... 4 Tle. in 1 Bd. Ulm, Wagner, 1690. Mit gest. Frontisp., gest. Portr. u. 10 Kupfertaf. 8 Bl., 382 S., 3 Bl. (Reg.); 2 Bl., 398 S., 3 Bl. (Reg.); 2 Bl., 384 S., 4 Bl.; (Reg.); 2 Bl., 374 S., 5 Bl. (Reg.). Einf. Prgt. d. Zt. (Rücken oben mit Fehlst., etw. berieb. u. tls. fleckig). Hayn-Gotendorf III, 81 (nennt 1691 als Erscheinungsjahr). Goed. III, 258, 12. FdF 865. Dünnhaupt III, 1964, 19. Erstausgabe. Eberhard Werner Happel (1647-1690), der als Romanschriftsteller zu seiner Zeit außerordentlichen Beifall fand, weil seine Werke sich "vor anderen ihrer Art nicht nur durch den Wechsel und Reichtum der Erfindung, sowie durch Fülle des Stoffes auszeichneten, sondern der Verfasser auch die Spiele seiner ausschweifenden Phantasie durch den bedeutenden Vorrath ausgebreiteter Belesenheit zu unterstützen und zu würzen verstand" (Franck, ADB), schrieb in ca. 17 Jahren 20 sogenannte politisch-galante Romane. Die Geschichtsereignisse verflicht er in eine abenteuerliche Handlung mit Liebesgeschichten, gefährlichen Reisen usw., wobei er Tugenden und Laster seiner "Helden" besonders großartig erscheinen läßt. Im vorliegenden Roman erzählt er unter dem Namen "Kirchberg" seinen eigenen Lebenslauf (Tl. 1, S. 70ff.). - Haupttitel knapp beschnitten, Frontisp. mit Randbeschäd. Tls. gebräunt u. fleckig. Selten.

A GROUP OF FIVE MEDALLIONS (5)Comprising; a silver coloured example, detailed Mc Nabb's School, Dollar Institution, engraved Awarded to Douglas G.R. Leonard for Highest Attainments in Art 1917/18, a Swedish bronze medallion detailed Gustavus 111, a lead based white metal medallion, detailed Regina Christina, a French bronze medallion and a bronzed terracotta uniface medallion, detailed Cosmvs 11 Magn Dvx. Etrvriae 1111, diameter 8cmProvenance: Estate of the Late Michael Leonard (1933-2023),who used these for inspiration with his highly detailed ''Portraits in Time’series. 

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 Selection of Gold Jewellery. To include a Tested 9ct White Gold Five Stone Sapphire Ring, a 9ct Gold Orange Paste Stone Ring, a Tested 9ct Cameo Brooch, a 9ct Double Photo Locket, three pairs of 9ct Cufflinks (one pair with Initials), an Art Nouveau 9ct Peridot Pendant and a 15ct Gold melee Rose Cut Diamond Shirt Stud.  The Tested 9ct White Gold Five Stone Sapphire Ring the Ring Size is L.  The 9ct Gold Orange Paste Stone Ring the Ring Size is L.  The Art Nouveau 9ct Peridot Pendant consists of a Lime Green Round Brilliant Cut Peridot that measures approx. 3.60mm. The Art Nouveau 9ct Peridot Pendant measures approx. 3cm in length including the bale. The 9ct Gold Double Photo Locket measures approx. 5cm in height including the bale.  The Tested 9ct Cameo Brooch has a right facing Roman Soldier? and measures approx. 4.5cm x 3.5cm. Total Gross Weight of the 9ct Gold is approx. 18.5 grams excluding the 9ct Double Photo Locket and Tested 9ct Cameo Brooch.  Total Gross Weight of the 15ct Gold melee Rose Cut Diamond Shirt Stud is approx. 1.30 grams.  Condition: There is some wear to the Orange Paste Stone in the 9ct Gold Ring. There is dents in one of the coffee bean shaped cufflinks.  

Joseph Nordberg (1817-1887). Faceted beer mug, cozy proportions, made of silver in the style of Roman-Gothic historicism. Gracefully decorated with alternating drop-shaped scallops along the edges of the body, and the waves of the hinged lid - Francis with a trapezoidal stop. The handle is lined with waves and finger grooves. It is mounted on a voluminous, profiled base and is equipped with a baluster on the lid. In general, the organic fluidity of the decor, the motif of hop mascarons, is ahead of its time - anticipating the early Art Nouveau of the 1880s. St. Petersburg hallmarks of silver 84 samples, 1859, assayer Eduard Fedorovich Brandenburg. And the mark of the master IN Isif Nordenberg, famous for his workshop with three students in Tsarskoe Selo and St. Petersburg since 1848. Height 16.5 cm. Weight: 424 g. Width: 13.5cm, Height: 16.5cm, Depth: 10.8cm, Weight: 0.425kg, Condition: Good, Material: Silver 84, Gilding, ID: ID-ANTQ-8438

Großer Zierteller mit der Ansicht des Concordiatempelsim Stil italienischer MajolikaRunde, leicht gemuldete Form mit breiter, leicht ansteigender Fahne und kapuzinerbraunem Rand. Flächendeckende Darstellung des Forum Romanums in Rom mit Blick auf die Ruine des Concordiatempels. In der Art der italienischen Majolika von Castelli. Feine polychrome Malerei. Unw. rest.; Zeptermarke. D. 40 cm.Vgl. Von Marschall, Von den Ursprüngen des europäischen Porzellans bis zum Art Déco, Nr. 12, S. 349.A large porcelain plate depicting the temple of Concordia in the Roman Forum in Rome after Italian Majolica of Castelli. Insignificantly restored. Sceptre mark.KPM-Berlin. Ende 19. Jh.

An Art Deco starburst wall clock, with gold roman numeral dial, gilt wood, 55cm wide x 41 cm high. Condition Report: dial diameter; 11 cm.

An Art Deco Style Mother of Pearl Cased Wristwatch, the unsigned white oval dial with black and red Roman numerals, within circular mother of pearl surround and plain caseback, to a later blue strap (movement unseen).

A Spanish art glass “Scavo” style jug. By Lafiore. Roman style. 14cm

PARRINO, STEVENNew York 1958 - 2005Titel: "Lucifer's Hammer". Untertitel: Diptychon. Datierung: 1989. Technik: Jeweils: Emaillelack auf Leinwand. Maße: 123 x 183cm. Bezeichnung: Ein Bild signiert, datiert und betitelt verso auf dem Keilrahmen links mittig: S. Parrino 89 Lucifers Hammer. Ein Bild monogrammiert, datiert und betitelt: SP. 89 Lucifer's Hammer. Jeweils zudem nummeriert und mit Installationsanweisung versehen. Provenienz: - Privatsammlung Deutschland (direkt vom Künstler)Ausstellungen:- Kunstparterre, München 2013- Deichtorhallen Hamburg, 2019- Kunstmuseum Liechtenstein, Vaduz 2020Literatur: - Ausst.-Kat. Hyper! A Journey Into Art and Music, Deichtorhallen Hamburg, Köln 2019, S. 15, Abb.- Ausst.-Kat. Steven Parrino, Nihilism is Love, Kunstmuseum Liechtenstein, Köln 2020, S. 99, Abb.- Parrino ist einer der einflussreichsten Künstlerpersönlichkeiten der New Yorker Kunstszene der 1980er und 1990er Jahre- Seine "misshaped paintings" sind von einer Radikalität geprägt, die von einem tiefen Verständnis für die Geschichte der Malerei zeugt- Titel nimmt Bezug auf den gleichnamigen Science-Fiction Roman von Jerry Pournelle und Larry Niven, der 1977 erschien- Teil der großen Retrospektive 2020 im Kunstmuseum LiechtensteinBad Boy und BürgerschreckDer 1958 in New York geborene US-amerikanische Künstler, der als Anhänger der Motorradkultur mit Vorliebe Bikeroutfits und Lederjacken trug, ist bekannt für seine "verformten" oder "unförmigen Leinwände" ("misshaped paintings"). Konzerterfahrungen während seiner Jugend, etwa der Besuch eines Auftritts der Rockband "Grateful Dead" mit dreizehn Jahren, lösten seine Begeisterung für akustische Rückkopplungseffekte und Störgeräusche aus. Die anarchische Energie dieser frühen Einflüsse entlud sich in Parrinos spontan aufgeführten, unvorbereiteten Performances der 1970er Jahre. So löste er etwa einen Feueralarm aus und entkam durch den Notausgang oder schlug mit einem Vorschlaghammer auf ein Fernsehgerät ein. Parrinos Affinität zu Krach und Chaos bilden den Kern seiner freiheitlichen kreativen Auffassung: "Die meisten Menschen haben Angst vor der totalen Freiheit, vor dem Nichts, vor dem Leben. Man versucht, alles zu kontrollieren, aber die Natur ist unkontrollierbar. Es ist egal, wie man sich ausdrückt (ob mit Worten, Bildern, der elektrischen Gitarre), wichtig ist, dass man etwas auszudrücken hat." (Parrino, Steven: The No Texts (1979-2003), New Jersey 2003, S. 34) Parrino, der unter anderem an der renommierten Parsons School of Design in New York studiert hatte, nutzte die musikalischen Möglichkeiten der Verzerrung, Verbeulung, Verwerfung für seine bildnerischen Werke. Ende der 1970er Jahre, einer Zeit, in der die Malerei für tot erklärt wurde, begann Parrino, das Medium unter neuen Voraussetzungen produktiv zu nutzen. Monochrome, vorwiegend rot, orange, silber oder schwarz gefasste Leinwände unterzog er einer destruktiven Handlung. Mit der plötzlich herbeigeführten Veränderung, mit einem Bruch oder einer Störung öffnete Parrino die plane Fläche gewaltsam in den Raum hinein. In Anlehnung an die Grundauffassung der Minimal Art, lehnte er die Malerei als illusionistische Täuschung ab und rückte stattdessen die Realität von Keilrahmen und Leinwandfläche in den Vordergrund. Sie bildet den Ausgangspunkt für zahlreiche Variationen, die mit körperlichem Einsatz entstehen: Seine geschlitzten, aufgerissenen, ausgeschnittenen, gebogenen oder verdrehten Leinwände ergeben Reliefs, deren strukturierte Oberfläche unberechenbare Lichtwirkungen ermöglichen. Rebell mit Anliegen und TeufelswerkzeugIn "Lucifer´s Hammer" löst Parrino die vollflächig orange lackierte Leinwand aus ihrer durch die rechteckige Kontur des Keilrahmens vorgegebene Begrenzung. Indem er förmlich die Befestigung des aufgespannten Tuchs im Rahmen lockert und dieses neu fixiert verschiebt sich das Bildfeld. Falten und Überlappungen bilden sich während ungrundierte Stellen der Leinwand in Erscheinung treten: Das Bild scheint verrutscht zu sein. Durch die Ablösung der Leinwand spielt er humorvoll den Bildgegenstand gegen die Gegenständlichkeit des Bildes aus. Parrino, dessen Freiheitsdrang ihn zeitlebens die Nähe zu Untergrund- und Subkulturen suchen ließ und der 2005 bei einem Motorradunfall tragisch ums Leben kam, analysiert dabei die Bedingungen von Malerei bei gleichzeitiger ironischer Hinterfragung der allgemeinen künstlerischen Praxis, in dem er dem Werkzeug des Teufels zumindest im Titel eine tragende Rolle zugesteht. Er selbst verstand sich als "Frankenstein der Malerei", der der toten Materie neues Leben einhaucht.Bettina Haiss.Erläuterungen zum Katalog Steven Parrino Unikate 1980er Farbe Gemälde Acryl Faltung Voraussichtliche Versandkosten für dieses Los:Absprache nach der Auktion.

A TRENCH ART MANTLE CLOCK FORMED FROM A BOMB CASING, 19th century movement free from the case, damaged dial, roman numerals, 8 day movement, bell strike with issues, the movement stamped although lost some detail 'Machenaud Paris, S. Marti et Cie', numbered 1522, 52, numbered to the outer edge of movement casing 369 with star, without pendulum and key, exterior casing has been heavily painted black, inside and some detail in red, with additions added to the exterior and wooden panel door to the back, glass is included but not attached, numbered 583?, stamped to the inside base E.W., some of the rings do turn but most other detail has been lost, overall worn condition with the movement and dial in need of attention, clock not tested for working condition or accuracy, standing approximately 40cm tall, Customers must satisfy themselves prior to sale in regards to conditions and authenticity, viewing is advised, condition reports are available on request

ANNO DOMINI - an Ann O'Donnell silver wirework necklace, the thirteen panels with twelve green bead spacers, with hook clasp, London 1979, boxedNB. Ann O'Donnell (1933-2019) was a Leeds based modernist jeweller influenced by ancient Roman glass and archaeology. She began her artistic education at the Leeds College of Art and then studied as a postgraduate at the Royal College of Art. After an uninspiring work placement at Charles Horner she returned to Leeds College of Art to continue her studies together with teaching. In 1966 her diamond necklace was chosen for the De Beers Diamonds International Awards. She opened Anno Domini in 1977 with her business partner Mae-Fun Chen (Est. plus 24% premium inc. VAT) Condition Report: 50cms long, good

1st century A.D. Fragments of wall plaster with rendered surface painted red with brown detailing to the edge; some with impression of timber laths to the reverse. Cf. Hakanen, V., 'VI Wall Plaster Fragments' in Berg, R., Kuivalainen, I., Domus Pompeiana M. Lucretii, IX,3, 5.24, The inscriptions, Works of Art and Finds from the Old and New Excavations, Vantaa, 2019, pp.196-224, figs.3-4. 845 grams total, 39-94 mm (1 1/2 - 3 3/4 in.). [10, No Reserve]Acquired in the 19th century. Ex Jeger collection, Switzerland. UK gallery, early 2000s.These small fragments, for analogies with the fragments of Pompeii, seems to belong to the second style of Roman painting, red panels representing highlight and shadow, decorated with vegetal interlaces. Some panels were probably framed by a red grenade fillet. A fragment shows alternate blue and red colour over a cream background, maybe pertinent to a socle.

4th-6th century A.D. Hollow-formed ceramic oil lamp with two nozzles flanking a low-relief menorah with fronds and bunches of grapes in high-relief; underside with impressed wreath detail. Cf. Lund, J., 'A synagogue at Carthage? Menorah-lamps from the Danish excavations' in Journal of the Roman Archaeology, vol.8, 1995, pp.245-262. 120 grams, 86 mm (3 3/8 in.).Formerly in North American collection, 1990s. From the collection of a London, UK, gentleman. Accompanied by a thermoluminescence analysis report no.N124k39 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12396-225409.

3rd-4th century A.D. With facetted shoulders, disc bezel with low-relief portrait bust. Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, item 206, for type. 5.76 grams, 25.26 mm overall, 17.31 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13) (1 in.). [No Reserve]Acquired on the London art market in the late 1980s-1990s. From the family collection of an East London, UK, gentleman.

4th-6th century A.D. With a rectangular body and loop handle, the underside with a Menorah on a tripod base, a shofar on the left, a lulav and a shovel to the right. Cf. Grossman, C., The Collector's Room: Selections from the Michael and Judy Steinhardt Collection, New York, 1993, no.104; Friedenberg, D.M., ‘The Evolution and Uses of Jewish Byzantine Stamp Seals’, in The Journal of the Walters Art Gallery, vol. 52/53, 1994/1995, p. 11, no. 3; see also a similar stamp auctioned in Christie's, Antiquities, New York, 13 Dec 2013, New York, 2013, lot.167. 46.3 grams, 59 mm (2 3/8 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.12324-223712.According to Friedenberg and A. Reifenberg, unlike the Roman Christian counterparts, stamps such as the present example were likely used on the stoppers of wine amphorae rather than to stamp bread. They were used to seal the wine amphora to guarantee the purity of the wine as sanctioned by the Talmud.

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.

5th century A.D. Slender hoop with granules flanking a cup bezel, inset garnet cloison with intaglio profile male bust; supplied with a museum-quality impression. Cf. Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991, item 208, for type. 4.01 grams, 26.03 mm overall, 17.16 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13) (1 in.).[A video of this lot is available to view on Timeline Auctions Website]Acquired on the German art market, 1989-1995. with The Museum Gallery, 19 Bury Place, London, WC1, UK, 1998-2003. Property of a London based academic, 2003 to present. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12390-226044.

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.

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.

1st-4th century A.D. Aqua glass with broad piriform body, dimpled base, tapering tubular neck with everted rolled rim; chipped. Cf. Whitehouse, D., Roman Glass in the Corning Museum of Glass, vol.1, New York, 1997, item 268, for type. 37.1 grams, 10.2 cm (4 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.

3rd century A.D. and later. The coin of Constantine the Great (272-337 A.D.) mounted on 22 carat gold foil, framed with an art print signed by the artist David McAllister, depicting scenes of Roman military activity; limited edition number 53/1150. 1.26 kg, 49.5 x 37.5 cm (19 1/2 x 14 3/4 in.). [No Reserve]UK gallery, early 2000s. Accompanied by a previous certificate of authenticity.David McAllister's exciting design is a 'one of a kind' work that portrays the might and riches of the Roman civilisation. This limited edition print is a celebration of the award winning artist's lifetime dedication to historical paintings of the ancient world. To enhance appreciation of this rare and historic work, each individual print is signed and numbered by the artist.

Circa 3rd century A.D. Modelled in the half-round and hollow to the reverse, the god with knees flexed, one of his sandaled feet resting on a ram's head; left arm raised to hold a sceptre (absent) and right hand holding a thunderbolt; pierced at the midriff for attachment; mounted on a custom-made stand. Cf. similar (but not identical) statuette in Boucher, S., Recherches sur les Bronzes Figurés de Gaule Pré-Romaine et Romaine, Rome, 1976, item 231. Exhibited at the Harwich Museum, Harwich, Essex, UK, 11th September-2nd December 2024; accompanied by a copy of a photograph of the artefacts on display. 1.1 kg, 21.5 cm including stand (8 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.The figurine of Jupiter seems to be a provincial work of Gallo-Roman origin. Contrary to the iconographic tradition of the king of the gods, he is usually depicted nude and with a cloak on his left arm, the statuette shows a Jupiter covered by a large cloak and vestis talaris, which also closely resembles the Gallo-Roman iconography of Jupiter-Sucellus.

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

1st-2nd century A.D. Comprising a D-section hoop with shoulders formed as opposed dolphins holding in their mouths a pair of discs and median bar. See discussion in Spratling, M.G., Southern British Decorated Bronzes of the Late Pre-Roman Iron Age, Institute of Archaeology, London, 1972. 82 grams, 65 mm (2 1/2 in.).Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of Surrey, UK, gentleman.

1st-2nd century A.D. With discoid bezel and inset intaglio of a bireme with two military standards on deck flanking an eagle; supplied with a museum-quality impression. Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, item 191, for type. 4.62 grams, 21.78 mm overall, 19.26 mm internal diameter (approximate size British M, USA 6, Europe 12.46, Japan 12) (7/8 in.).[A video of this lot is available to view on Timeline Auctions Website]Acquired on the London art market in the late 1980s-1990s. From the family collection of an East London, 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.

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

2nd-3rd century A.D. Standing nude with left leg bent, arms extended, mantle draped from the right shoulder, hair combed forward from the crown; mounted on a custom-made stand. Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, item 38, for type. 100 grams total, 10 cm including stand (4 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.Despite the lack of specific attributes related to Hermes, the pose of the statue, with the right hand advanced to hold the sacculus, the cloak thrown over the right shoulder and then folded over the left would lean towards an interpretation of the statuette as an ex voto related to the god of thieves. The statuette seems to originate from a Gallo-Roman workshop. A similar drapery on the chest is also found on a Mercury/Hermes in the Museum of Besancon.

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.

2nd-3rd century A.D. Each a D-section disc with central triskele and coiled arms, segmented detailing to the outer face. Cf. Barkoczi, L., ‘Deux Tombes de cheval à Brigetio (two horse graves at Brigetio, in Hungarian and French)’, in Archaeologiai Ertesito, series III, Vol.VII-VIII-IX, 1946-1947-1948, Budapest, 1948, pp.169-162, pls.XXVI-XXVII, XXIX, XXXIII, and figs.4-5, for identical mounts. 340 grams total, 10-10.2 cm (4 in.). [2, 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 two mounts are elements of horse harness decorating the antilena and postilena of the horse, as intersection fittings of the main straps. According to Alfoldi, these horse harnesses were the product of a metallurgy that was the fruit of a Gallo-Roman revival, and not exclusively of military nature. The military adopted similar elements fruit of the revival of this Celtic-Roman decorative art, since such harnesses have also been discovered in border fortresses. But the large industrial centers, which worked for export, manufactured objects primarily for the Danubian regions where both the soldiers and the civilian population, without distinction of class, used them as habitual objects.

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.

3rd century A.D. and later. The coin of Constantine the Great (272-337 A.D.) mounted on 22 carat gold foil, framed with an art print signed by the artist David McAllister, depicting scenes of Roman military activity; limited edition number 192/1150. 1.26 kg, 49.5 x 37.5 cm (19 1/2 x 14 3/4 in.). [No Reserve]UK gallery, early 2000s. Accompanied by a previous certificate of authenticity.David McAllister's exciting design is a 'one of a kind' work that portrays the might and riches of the Roman civilisation. This limited edition print is a celebration of the award winning artist's lifetime dedication to historical paintings of the ancient world. To enhance appreciation of this rare and historic work, each individual print is signed and numbered by the artist.

4th-5th century A.D. With bifid openwork shoulders and cupped cell, inset cabochon garnet. Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, item 207, for type. 3.38 grams, 22.73 mm overall, 16.13 mm internal diameter (approximate size British K 1/2, USA 5 1/2, Europe 10.58, Japan 10) (7/8 in.).Acquired on the London art market in the late 1980s-1990s. From the family collection of an East London, UK, gentleman.

1st century B.C.-1st century A.D. Modelled in the round in a sturdy pose with fierce facial features and prominent ridge of bristles to the spine, stub tail; mounted on a custom-made stand. Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, item 252, for type. 231 grams, 68 mm (2 5/8 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 statuettes of boars found in the Roman Britain and in the Roman Gaul, were likely used as dedicatory ex-votos, votive figurines for the cult places. They were widespread in the Roman provinces of Celtic origin. However, one cannot exclude the fact that many boars found in Britain belong to the pre-conquest British figurines. One of the few types of bronze figurines that are known to precede the arrival of the Romans is in fact that of the boars.

Ryedale, North Yorkshire, 550-570 A.D. An excessively rare and almost complete copper-alloy hanging bowl and associated fittings, comprising: (i) the bowl with three attached matching hooked escutcheons and suspension rings; (ii) the basal disc with separate frame; (iii) a body fragment (or repair patch); (iv) a curved bronze fragment; (iv) a curved copper-alloy strip (v) four skeletal fragments from a sheep or similar; accompanied by a high quality custom-made display stand. Cf. Bruce-Mitford, R., The Sutton Hoo Ship-Burial. Vol. 3, London, 1983, p.206-239, for Sutton Hoo Mound 1 bowl; Bruce-Mitford, R., Ireland and the Hanging Bowls - A Review in Ryan, M., Ireland and Insular Art AD500-1200, Dublin, 1985, for discussion of types; Bruce-Mitford, R., The Corpus of Late Celtic Hanging-Bowls with An Account of the Bowls Found in Scandinavia, London, 2005, for full discussion of the type; Carver, M., Sutton Hoo. A Seventh Century Princely Burial Ground and its Context, London, 2005, p.261, for discussion of Sutton Hoo Mound 2 bowl and other finds. Old bucket turns out to be 'excessively rare' Anglo-Saxon Bowl, BBC News, 1 September 2023 (copy included). 303 grams, 19 cm (720 grams total, 23 cm including stand) (7 1/2 in. (9 in.)).Found whilst searching with a metal detector in Ryedale, North Yorkshire, UK, on Sunday 5th February 2023 by Chris Ulliott. Accompanied by a copy of the British Museum's Portable Antiquities Scheme report no.YORYM-59523A. Accompanied by a handwritten signed letter from the finder explaining the circumstances of finding. Accompanied by a copy of a signed Art Loss Register declaration no.S00236559, dated 18th September 2023, and an Interpol search certificate dated 3 October 2023. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12441-225438.Hanging-bowls are high-status vessels with origins in the Roman period which continued in use only in Britain and Ireland. They appear in burial contexts which date them to the sixth to late seventh century. The form of this example is paralleled by the bowl from Hadleigh Road, Ipswich, Suffolk (British Museum accession number 1984,0103.9) which has a similar shape and kite-shaped escutcheons secured by three rivets (Bruce-Mitford, 2005, Corpus No. 86).

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.