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A radiant collection of five blown glass vases, each hand-decorated in the Bohemian style with lavish black enamel scrollwork and fine floral gilt accents. The set features rich jewel-tone hues - two ruby red, one emerald green, one sapphire blue, and one amethyst fade - each finished with hand-applied 24k-style gold trim to rim and foot. The vases exhibit a uniform baluster shape with flared necks, exuding Art Nouveau and Victorian revival charm. The black and gold overlay design is finely stenciled in a garlanded motif, offering both opulence and old-world craftsmanship. Although unmarked, the style and execution suggest origin from Central or Eastern Europe, likely late 20th century, in homage to Moser and Harrach glass traditions. Largest piece 5.5"H. Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.

‡ SAMUEL PALMER (BRITISH 1805- 1881) THE GLEANING FIELD Oil on canvas 42 x 52cm (16½ x 20¼ in.) Painted circa 1832-33.Provenance: John Giles, a first cousin of the artist (1811-1880) His sale, Christie's, London, 2 February 1881, lot 620, for 135gns Bought at the above sale by The Fine Art Society Possibly William Fothergill Robinson Q.C Possibly Rev. William Fothergill Robinson, Woodspeen, Newbury Herbert A. Edwards (1888-1978), Newbury and thence by descent Private Collection, U.K by 2009 With Lowell Libson Acquired from the above in 2010 Literature: Raymond Lister, Catalogue raisonné of the works of Samuel Palmer, London, 1988, no.167Exhibited: London, Royal Academy, 1833, no.48 London, Fine Art Society, A Collection of Drawings, Paintings and Etchings by the Late Samuel Palmer, 1881, no.2 The reappearance of this exquisitely painted and highly finished large work on board is an exciting addition to the Palmer's oeuvre, dated to circa 1832-33. It was painted towards the end of his celebrated Shoreham period when Palmer's highly personalised artistic voice that had taken shape at Shoreham from the mid-1820s amongst 'The Ancients' was maturing. It is one of only a small handful of known Shoreham period oils to remain in private hands. Palmer first visited the village of Shoreham in Kent in 1824 and settled there in 1826 where he remained for nearly ten years. The landscape around Shoreham was the embodiment of Palmer's visions of pastoral life that he had imagined from his reading and it was there that he translated his intensity of vision into drawings or paintings. The valley at Shoreham teamed with an abundance of crops, corn, fruit and hops harvested by hand using age old methods and eschewing the encroachment of modern life. The village scenery was punctuated by the landmarks of rustic life, a small hamlet of primitive cottages, the mediaeval church with its spire, the carpet of fields and populated with a rollcall of village characters, the rhythm of life directed by the seasons. The resulting works which were executed during Palmer's time living at Shoreham are considered his greatest achievements. Palmer, who had first met the visionary artist William Blake (1757-1827) in 1824, was quickly joined by several friends, other devotees of Blake, who formed themselves into a loose group calling themselves 'The Ancients'. During Palmer's earlier years at Shoreham we see the development of his art and his experimental use of medium, following methods he largely evolved himself. However, by the early 1830s Palmer's companions had largely left the valley and Palmer began to attend to the development of his career due in part to his straightened finances, and as a result the manifestations of his period at Shoreham evolved into a more conventional expression of his vision. Palmer had begun to spend more time in London and submitted work to the Royal Academy in 1830 and 1831 which although rejected was indicative of a desire for wider recognition and engagement the with art establishment. In 1832 the Royal Academy accepted seven works which Palmer had sent in from his recently acquired house in Marylebone, including 'Pastoral' scenes and 'A harvest scene', generic titles which have plagued the future identification of these works. In 1833 Palmer exhibited five works, amongst them 'The gleaning field' (here identified as the present work) and a 'Kentish scene'. The following year Palmer exhibited six pictures at the Royal Academy. The present work, of exhibition scale and highly finished is the most likely candidate for Palmer's Royal Academy exhibit no. 48 of 1833 'The Gleaning Field' being the only painting by Palmer depicting gleaners as the main subject of the composition. The Gleaning Field, circa 1833 (Tate Gallery, London) is smaller in size with many reworkings in pen and ink and competing motifs of the wagon drawn by oxen and the cottage on the edge of the field. As a picture intended for exhibition in London at the Royal Academy it is not farfetched to see Palmer's intention for it to convey a message to the London audience. The early 1830s was a period of rural discontent and political unrest and the resulting restlessness was felt in the Shoreham valley. The established way of life in the countryside was in crisis, the boom years of the Napoleonic Wars were over and hardships were felt especially in rural communities through unemployment, the erosion of rights through the continuing enclosure of common grazing land, the passing of the Poor Laws, the imposition of the Church Tithe and increasing mechanisation. There was widespread unrest, most notably marked by the 'Swing' riots of 1830-1 and widespread outbreaks of arson, machine breaking and wage rioting which started in Kent and spread across the whole of southern and eastern England with the military being deployed to support the local law enforcement. The first threshing machine was destroyed on Saturday 28 August 1830. By the third week of October, over one hundred threshing machines had been destroyed in East Kent. The riots spread rapidly through the southern counties of Surrey, Sussex, Middlesex and Hampshire, before spreading north into the Home Counties, the Midlands and East Anglia, moving on as far as Lincolnshire, Yorkshire and Nottinghamshire. John Giles (1810-80), the first owner of this picture, was Palmer's cousin and a near contemporary. Giles was one of the 'Ancients' and a stockbroker rather than an artist. He managed Palmer's precarious financial affairs and was close to George Richmond and his family and remained a lifelong friend of both men and a great admirer of Palmer's works. Giles died in 1880 and his collection, comprising some 635 lots of which 185 were paintings, was sold by Christie's in 1881. The present work was purchased by the Fine Art Society for the considerable sum of 135 gns in advance of the exhibition they were to devote to the works of Palmer later that year. The picture appears to have been acquired at that time by either George Richmond or his son-in-law, William Fothergill Robinson. Richmond had presented his daughter Julia and Robinson with Palmer's The White Cloud, circa 1833-4 (Ashmolean Museum, Oxford; fig. 2) as an anniversary present and Robinson had also been a purchaser at the Giles' sale acquiring The Bright Cloud, circa 1833-4, Manchester City Galleries. The Shoreham landscape inspired some of the most intensely original pictures of the British Romantic period, works which distilled Palmer's vision and translated it into a representation which contained all the elements of Palmer's pastoral poetry. The present picture marks a particularly important period in the development of Palmer's vision as well as recording a moment of crisis in the political and economical development of late Georgian England. Its appearance at auction represents a rare opportunity to purchase one of only a handful of Shoreham period oils remaining in private hands.    

A RED LACQUER AND JAPANNED CABINET ON STAND EARLY 19TH CENTURY Painted with Chinese figures and flowering branches, the doors opening to an arrangement of shelves and drawers decorated in imitation of maki-e lacquer 157cm high, 88cm wide, 36.5cm deep Provenance: The Property of the Prince de Talleyrand Périgord (1754-1838) and bequeathed to his nephew Duc Edmond de Talleyrand, thence by descent until sold at Christie's London, Objects of Art and Clocks, French and Other Continental Furniture, Eastern Rugs and Carpets, November 5th 1970, Lot 136 Charles Maurice de Talleyrand-Périgord (1754-1838), 1st Prince of Benevento and then Prince of Talleyrand, was a French secularized clergyman, statesman, and leading diplomat. He was the Secular Bishop of Autan and later served as the Minister of Foreign Affairs under both Louis XVIII and Napoleon I. Saleroom Notice Please note, provenance for this lot has been added, therefore this cataloguing differs from the printed catalogue. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old chips, splits and losses. Impressed initials 'TR' to the underside. Key is present and operates the lock. The lacquer surface with some areas of additional loss, scratches, and retouching. Some minor evidence of old worm. Of stable structure overall, with some movement to the joins. The stand with some additional scratches and pitting. Please see all additional images as visual reference to this report. Condition Report Disclaimer

Mixed lot of white metal and costume jewellery including a middle eastern white metal belt and necklace, white metal expanding hoop bangle, Art Nouveau cast white metal mount, swivel locket pendant, two pairs of cased Charles Tyrwhitt cufflinks set with malachite and lapis lazuli, costume jewellery brooches, Concorde stud, gold plated wristwatch and other items

watercolour on paper mounted, framed and under glass image size 46cm x 59cm, overall size 64cm x 77cm Provenance: Attributed and titled on Fine Art Society, Old Bond Street, London exhibition label verso, dated September 1997. Artist's label verso with address of 70 Hamilton Place, Aberdeen. Note: Ian McKenzie Smith?s work shows his continuing commitment to a distinctly personal brand of landscape based abstraction: a subtle evocative way of painting that owes something to Eastern traditions, as well as the American colour-field painters of the 1950?s. A travelling scholarship took him to Paris where he met the Japanese artist Kenzo Okada and encountered Zen philosophy. An oriental sense of balance and calligraphic finesse has been a feature of his work ever since. Awarded the OBE and CBE for services to art, he was director of Aberdeen Art Gallery and Museums for some thirty years, is Past President of the Royal Scottish Academy, Past President of the Royal Scottish Society of Painters in Watercolours and a former Trustee of the National Galleries of Scotland. Numerous works are in many public collections including the Scottish National Gallery of Modern Art, The Government Art Collection, Aberdeen, Dundee, Edinburgh, Glasgow and Perth Art Galleries, and in private collections in the UK, Europe, North America and Japan. Ian McKenzie Smith's work rarely appears at auction.

This rare Royal Doulton figurine titled Geisha (HN1310) features a seated young woman in a vivid, floral-patterned kimono, gently playing a stringed instrument. Modeled in the 1930s and hand-painted in a vibrant, impressionistic palette of greens, purples, and pinks, the piece reflects Royal Doulton's imaginative interpretation of Eastern themes during the Art Deco era. Potted by Doulton & Co. and fully marked on the base with the title and HN number in red script, this 7"H figure is an exceptional addition for collectors of early 20th-century Doulton artistry.Artist: Charles J. NokeIssued: "Dimensions: 1929 " 1938"Edition Number: See DescriptionCountry of Origin: Royal DoultonProvenance: England Condition: Age related wear.

A rare and highly collectible example of Royal Doulton's flambe ware, this figurine titled The Smiling Buddha was designed by Charles Noke and introduced in the 1920s. Rendered in deep crimson with rich tonal variation, the figure is seated with an expression of joyful serenity. The signature flambe glaze creates a vivid, flowing surface unique to each piece. The base bears the Royal Doulton backstamp along with an impressed model number 210, confirming its early production origin. Created during a period of Eastern-inspired decorative art, this piece remains one of the most desirable in the flambe series and is a centerpiece for any serious collection of British ceramics.Issued: c. 1920sDimensions: 7.25"HCountry of Origin: EnglandCondition: Age related wear.

87 MODERN & CONTEMPORARY SOUTH ASIAN, MIDDLE EASTERN & WORLD ART PUBLICATIONS Various publishers, 21st centuryA group of 87 publications focusing on Modern and Contemporary art from South Asia and the Middle East, including important auction catalogues from Sotheby’s, Christie’s, and Bonhams. The lot also features select issues of Arts of Asia, The World of Interiors, and The Burlington Magazine, covering international art, design, and cultural history. A valuable reference group for scholars, curators, collectors, and dealers with interests in non-Western contemporary art and global collecting trends. Qty: 87

A DAMASCUS-WARE SILVER AND COPPER-INLAID BRASS DISH WITH STELLAR AND FLORAL DECORATION Damascus, Syria, circa 1900A large circular brass dish inlaid in silver and copper, the field decorated with an elaborate radiating design of geometric stellar and stylised floral motifs, each petal and star meticulously highlighted in alternating metals, surrounded by arabesque scrollwork and intricate geometric interlace, the border with a profusion of palmettes, rosettes and copper-inlaid latticework, the rim finished with calligraphic cartouches and ropework, the reverse plain and fitted with a suspension loop for wall display, produced in the great tradition of late Ottoman and Mamluk-revival metalwork that flourished in Damascus around 1900, such pieces were admired and exhibited internationally, including at the British Empire Exhibition of 1924–25, where objects from the Palestine and Syria pavilions showcased the region’s craftsmanship and cultural heritage, an impressive example of Islamic metalwork and Middle Eastern decorative arts, and of interest to collectors of Holy Land, Levantine, and Palestinian art.37cm diameter 37cm diameter Qty: 1

Workshop from Northern Germany or the Rhineland Region, possibly Upper Rhine (extending into northern and eastern France). Romanesque. Late 12th century"Seat of Wisdom. Sedes Sapientiae"Carved oak wood sculpture75 x 19 x 17 cm The Virgin in Majesty (Sedes Sapientiae)—the Seat of Wisdom—seated solemnly on her throne of glory as queen, with the crowned Christ Child enthroned on her lap.She is shown in a frontal position, wearing a veil fastened with a fine diadem.The faces of the Virgin and Child are finely carved and reflect a severe expression.As stated in the Enciclopedia del Románico, where this piece is reproduced, in the entry by Professor Victoriano Nodar Fernández:“She wears a tunic and a mantle gathered over her shoulders with a triple border and a circular medallion. The garments form a profusion of symmetrical, deep, and marvellous folds, arranged in concentric patterns or gathered in bundles, schematically distributed at the lower part.” This marvellous sculpture was part of the exhibition “The Madonna and Child The Eric de Kolb Collection” held at the Art Gallery University of Notre Dame between July and September 1969 and is reproduced in the catalogue as fig. 10 full page. In the text of the catalogue, the prestigious Dr. Stanley Ferber (professor of art history at the State University of New York)indicates that our piece: "is striking for the rigid and frontal arrangement it presents, with lightly draped folds that in some way recall the French works of the School of Chartres from the mid-12th century.It is an excellent example of the hierarchical typology of the Virgin, probably of German or French origin from the 12th century, whose frontal and severe, almost frozen composition conveys a sense of firm solemnity.The Virgin’s arms are placed on the Christ Child’s knee (the right) and on his arm on the same side (the left). Reinforcing its hieratic quality, the figure also shows an almost total adherence to the block of wood from which the sculpture originates, which prevents the arms of either figure from being separated.The precise and symmetrical folds of her garments accentuate the sense of immobility and enhance the symbolic and majestic character of the figure.Although the style of the drapery invites a comparison with the sculptures of Chartres, the strict symmetry of the composition and the way the folds of the mantle are arranged point more clearly to a Byzantine influence, both stylistically and iconographically. For this reason, it is credible to place this sculpture not in France, as might be supposed at first glance, but rather in the Rhineland region". Provenance:– Former collection of Eric de Kolb.– Private collection, Spain Reference bibliography:Dr. Stanley Ferber. (1969). "The Madonna and Child Eric de Kolb Collection. The de Kolb Collection of Romanesque Art". University of Notre Dame. Reproduced in the catalogue with image No. 10.- VV.AA. (2013). "Enciclopedia del Románico en Galicia". Tomo I. Pág. 389-390. Text by professor Victoriano Nodar Fernández.

ROBERT E GROVES (BRITISH 1868 - 1948), MIDDLE EASTERN MARKET oil on board, signed and dated 1918framed and under glassimage size 29cm x 24cm, overall size 50cm x 45cm Note: A marine and landscape artist in pencil, watercolours, gouache and oils, Robert Emmanuel Groves, was born in Richmond, Yorkshire on the second of December 1868, the son of Thomas Groves and Lavinia (nee Medd), he was the eldest of seven children. The family had a brewery business in the Manchester area trading under the name “Groves and Withnell” and would spend the Summer month in Ramsey – Isle Of Man. Aged just 12, he was living with his parents in Leicester in 1881, but at 24, was apparently living in Bohemian Chelsea in 1893. His addresses in that period were believed to have been 50 Tedworth Square and 42 Paultons Square. He studied art under Albert Strange in Scarborough, Yorkshire in the early 1890s, and exhibited his first works at the Royal Academy in 1893, exhibiting five works there during the period 1893-1903 from around 15 works exhibited there overall. He was living in St Albans by 1894, teaching at the Art School of the St Albans School of Science and Art, taking the first of a number of trips to the Western Highlands with a trip to Iona, off the coast of Mull, in 1897, resulting in works like The Iona Ferry, 1897. Marriage to Mary Hall Keir Cameron took place in Glasgow in 1894, and they had a daughter Sheila on October 16th 1901. He was heavily involved in the St Albans pageant of 1907, designing a series of historical postcards, published by printer Raphael Tuck, to be sold to raise funds for the event. He was still at St Albans in 1910 when he was complimented by a visiting American scholar, Mr Charles A. Bennett, when he wrote up his experiences in St Albans for an article in Manual Training Magazine (Vol XII, No. 1, Oct 1910) of which he was editor. As a practising Bohemian, Groves was a lover of life – and women. It is known he had at least one long running extra-marital relationship, with Jessie Smith, with whom he had five children : John (1925), Jessica (1928), Donald (1931; who died in infancy), Seonaid (1934) and Robert (1936). Becoming a member of the HumberYawl Club in 1904, no doubt shortly after committing to the building ofSheila, he made the first of many trips to the Western Highlands in her and the later Sheila II, writing of his experiences cruising in a small yacht, many stories of which were published in the HYC journals and in the Yachting & Boating Monthly. An early and prolific contributor to Yachting Monthly, in the pre-WWW1 under its original founder/editor, Herbert Reiach, Groves’ produced many fine pencils sketches of yachts and marine subjects, and his contributions were especially valued. It is understood his exploits in a small yacht (only 2 ½ tons) were unusual at the time, and his articles taken from his logs, encouraged others to emulate them and paved the way for the sport of ‘yacht cruising’ more generally. By 1908 he had made his first visit to North Africa, writing of his experiences in The Studio (Vol XLV, 1908, p25) and writing Morocco as a Winter Sketching Ground for The International Studio (Vol XXXVI, No. 141, Nov 1908). He is thought to have returned in 1918, painting a series of oils and pencil works of various landscapes, including : In the souk; Horseshoe arch, Morocco; and Powder play in the Running Ground Square, Mogador, Morocco, 1918, the latter held by the Art Gallery of NSW. It is believed these trips to Mogador (now Essaouira) inspired the name of his St Albans home, ‘Mogador’. In 1919 he had again returned to the Western Highlands, where he painted a number of seascapes including West Highland Lobster Fishermen (1919). A keen amateur ornithologist, Groves especially loved the seabirds and waders of the Western highlands, and spent many happy holidays there, observing, sketching and painting, usually with one of his beloved yachts in the picture. An ardent theatre-goer and thespian, Groves was heavily involved in local theatre, including various pantomimes and such works as ‘The Beggar’s Opera’, his production of which is believed to have toured the Midlands in 1926. He retired to Lymington, Hampshire, on the shores of the Solent Estuary, to The Old Coast Guard House in the early 1930s, where he spent the rest of his life, including the WWII years when he was, in his seventies, a member of the Home Guard.

SAUGUET HENRI: (1901-1989) French Composer. Sauguet formed the 'School of Arcueil', named after the location of Satie's home. In 1924 Erik Satie introduced Sauguet to Serge Diaghilev, the flamboyant impresario of the Ballets Russes. In 1927 Diaghilev's company produced the ballet La Chatte ("The Cat") with music by Sauguet, who gained his greatest popularity with his ballets. A good A.L.S., `Henri Sauguet´, four pages, 8vo, Paris, 18th April 1977, to Castor Seibel, in French. Sauguet returns from Eastern holidays in Gironde, and amusingly comments on the weather `Je suis rentré de Gironde vendredi soir. Séjour en Alaska! Gelées, neiges, vents glacials, soleil du Pôle... ciels de plomb. Enfin c´étaient des Pâques aux tisons! Je passias hier la hournée en Champagne, boire du champagne et écouter des musiciensde l´harmonie populaire...´ (Translation: "I returned from Gironde on Friday evening. A trip to Alaska! Frost, snow, icy winds, polar sun... leaden skies. Finally, it was Easter with embers! I spent yesterday afternoon in Champagne, drinking champagne and listening to folk band musicians...") Further Sauguet explains to his correspondent that he will not be able to meet him on the date suggest because he won´t be in Paris but having a tour giving a lecture about the Russian Ballets, saying `Le 22 je ne serai pas à Paris, à 17h je fais une conférence à Poitiers sur le Ballet Russe (que j´ai écouté pendant ces Pâques à Coutras). Je pars le 21 et ne rentrerai que le 24 car je répète cette même conférence le 23 au Mans, ou. en l´honneur des Ballets Russes on a fait une exposition et où l´on donne le 24 un concert au cours duquel sera exécuté La Chatte! A quelques jours près des 50 années de sa création à Monte Carlo (le 30 Avril 1927!)...´ (Translation: "On the 22nd I will not be in Paris, at 5 p.m. I am giving a lecture in Poitiers on the Russian Ballet (which I listened to during Easter in Coutras). I am leaving on the 21st and will not return until the 24th because I am repeating this same lecture on the 23rd in Le Mans, where in honor of the Ballets Russes they have held an exhibition and where they are giving a concert on the 24th during which La Chatte will be performed! A few days before the 50th anniversary of its creation in Monte Carlo (April 30, 1927!)...") Accompanied by the original envelope postmarked and stamped. VGCastor Seibel (1934-2022) German Writer, Poet and art Critic.A collector and expert in painting art.La Chatte ("The Cat") is a ballet by Henri Sauguet, premiered in Montecarlo in 1927, with Serge Lifar. The story is about a young man who falls in love with a cat, which assumes a human form through the intervention of Aphrodite. As they make love, the cat-woman sees a mouse and cannot resist chasing it, whereupon she changes back into a cat. The work was choreographed by the young Georg Balanchine.

Tray of collectables; Victorian sliding book ends with brass bindings, Art deco marble base letter holder, Eastern puzzle jewellery box, hard wood carved book ends & two sliding jewellery boxes.

This vibrant signed poster by Peter Max, titled Daydream from his Romance Series, features a vivid composition in his hallmark Neo-Expressionist style, with bold red, yellow, and blue hues. In addition to the printed design, this piece includes a unique ink drawing of a woman in profile wearing a hat, rendered directly onto the artwork by Max himself. Peter Max is a German-American artist renowned for his psychedelic imagery and use of vibrant color. Rising to prominence in the 1960s, Max became a cultural icon through his cosmic art, posters, and pop art campaigns. His work often blends visual elements of Eastern mysticism, Western pop culture, and expressionist brushwork. He has been commissioned for works ranging from U.S. Presidents to the Super Bowl and has had a lasting impact on American visual culture. The poster is personalized with a dedication and signed Max 2000. The reverse includes a certificate of authenticity from the Peter Max Atelier, affirming the originality of the signature and the drawing.Artist: Peter Max (German-American b. 1937)Issued: 2000Dimensions: 40"L x 28"HCountry of Origin: Germany-USACondition: Age related wear.

United States of America, Group of mostly base metal and bronze medals (approx. 49), relating to Methodism and Sunday Schools in the United States of America, to include The United Methodist Church Bicentennial medals by The Medallic Art Company, in bronze, named (Chet Custer; Marge Sleight); Bicentennial of American Methodism, named (Rev. and Mrs E. Cranston Riggin); Francis Asbury Convocation, named (Susan A. Schultz); World Methodist Conference, 1981, named (Chester E. Custer; Trevor Rowe); North-eastern Jurisdiction Conferences, for Atlantic City 1940, Ocean City N. J. 1944 and 1956, Albany, N. Y. 1948, Washington D. C., 1960, Buckhannon, W. VA., 1968, some named (E. Cranston Riggin; William Stewart); together with ribbons, badges etc, all housed in a wooden cabinet by St Leonards, comprising seven shallow felt lined trays for medals, brass pulls, double doors, felt base, lock and key, 32.7cm x 33cm x 18cm [Lot]. Medals, varied state, cabinet in very good condition with functioning locking mechanism £100-£150

A limited edition, clear crystal sculpture featuring a deeply etched koi fish swimming among aquatic plants, rendered within a fluid, undulating rectangular form. This koi fish is a traditional symbol of prosperity, perseverance, and strength in Eastern art. Etched date and numbered. Baccarat backstamp. Issued: 1984Dimensions: 2.25"L x 6.75"W x 9.75"HCountry of Origin: FranceCondition: Age related wear.

Egypt or Eastern Mediterranean, Ca. 4th century AD. A pair of olive green glass amphoriskoi, each with dark bluish-green handles and trail, both blown into a one-piece mould, the shallow funnel mouth decorated with an applied trail below, with a cylindrical neck and sloping shoulders, the cylindrical body tapering inwards towards a bulbous knop, the body with wheel-abraded decoration arranged in three horizontal registers, including triple strokes capped by a V formed of double lines and pseudo-oval facets, double vertical lines, and lastly triple strokes alternating with pseudo-oval facets, each register separated by horizontal lines.For similar see: The Corning Museum of Glass, Accession Number 74.1.25.Size: 68mm x 190mm; Weight: 455gProvenance: Prince collection, 1990s-2014; Ex. Bonhams, 28 April 2010, Lot 205; Ex. Dr Gonick & M. Wirth Collection, Geneva, Switzerland, 1970s. 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.

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) FIGURES ON THE PIER, LARGO Signed, oil on panel 19.5cm x 29cm (7.75in x 11.25cm) Alexander Reid, GlasgowRichard Green, London (BJ 71 MS) George Leslie Hunter can be considered the most independent of the four artists known as the Scottish Colourists, along with F. C. B. Cadell, J. D. Fergusson and S. J. Peploe. Although born in Rothesay on the Isle of Bute, Hunter emigrated to California whilst a teenager and began his career in San Francisco. However, the destruction of his work in the city’s earthquake of 1906 prompted a move to Glasgow, which was to remain the base of a nomadic lifestyle until his death in 1931.It is not known what first drew Hunter to work in Fife in eastern Scotland, which is bordered by the Firth of Tay, the Firth of Forth and the North Sea. However, between 1919 and 1924 he spent part of each spring and summer in the region, with its fertile and in parts coastal landscape, as well as its picturesque architecture the focus of his creative endeavours, as seen in Fife Landscape. As Hunter’s biographers Bill Smith and Jill Marriner have pointed out ‘It was there that he made the break to paint en plein air. The artistic ground he gained as a result marked an important turning point in his development in terms of modern colour.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2011, p.79).‘Largo’ comes from the Gaelic word meaning hillside and is the name of a region in the East Neuk of Fife. It consists of the villages of Upper and Lower Largo and Lundin Links. It was in this area that Hunter painted Boats and Figure, Largo and Figures on the Pier, Largo. Given their intimate scale, they were probably made on the spot in direct response to the views before him, of modest fishing boats moored at Lower Largo harbour. Particular attention is paid to the vertical mooring posts, the draw of mooring ropes and the colourful figures arrayed along the pier. The depiction of water in motion is signified by expressive brushstrokes, whilst highlights of bright colour, especially of red, enliven the compositions.Both paintings passed through the hands of the renowned dealer Alexander Reid, in whose Glasgow gallery, La Société des Beaux Arts, Hunter received his first solo exhibition in 1913. Reid did much to support Hunter’s career, championing him alongside his fellow Colourists in exhibitions mounted in London and Paris, whilst his son, A. J. McNeill Reid, organised a solo exhibition at the Feragil Galleries in New York in 1929.Paintings of Largo by Hunter can be found in various public collections including those of Aberdeen Art Gallery and Museums, The Fleming Collection, London, The Hunterian, University of Glasgow, Kelvingrove Art Gallery and Museum, Glasgow, Perth Art Gallery and the National Galleries of Scotland.

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) A FIFE LANDSCAPE Signed and dated '24, pen and ink and coloured chalk 25.5cm x 33cm (10in x 13in) George Leslie Hunter can be considered the most independent of the four artists known as the Scottish Colourists, along with F. C. B. Cadell, J. D. Fergusson and S. J. Peploe. Although born in Rothesay on the Isle of Bute, Hunter emigrated to California whilst a teenager and began his career in San Francisco. However, the destruction of his work in the city’s earthquake of 1906 prompted a move to Glasgow, which was to remain the base of a nomadic lifestyle until his death in 1931.It is not known what first drew Hunter to work in Fife in eastern Scotland, which is bordered by the Firth of Tay, the Firth of Forth and the North Sea. However, between 1919 and 1924 he spent part of each spring and summer in the region, with its fertile and in parts coastal landscape, as well as its picturesque architecture the focus of his creative endeavours, as seen in Fife Landscape. As Hunter’s biographers Bill Smith and Jill Marriner have pointed out ‘It was there that he made the break to paint en plein air. The artistic ground he gained as a result marked an important turning point in his development in terms of modern colour.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2011, p.79).‘Largo’ comes from the Gaelic word meaning hillside and is the name of a region in the East Neuk of Fife. It consists of the villages of Upper and Lower Largo and Lundin Links. It was in this area that Hunter painted Boats and Figure, Largo and Figures on the Pier, Largo. Given their intimate scale, they were probably made on the spot in direct response to the views before him, of modest fishing boats moored at Lower Largo harbour. Particular attention is paid to the vertical mooring posts, the draw of mooring ropes and the colourful figures arrayed along the pier. The depiction of water in motion is signified by expressive brushstrokes, whilst highlights of bright colour, especially of red, enliven the compositions.Both paintings passed through the hands of the renowned dealer Alexander Reid, in whose Glasgow gallery, La Société des Beaux Arts, Hunter received his first solo exhibition in 1913. Reid did much to support Hunter’s career, championing him alongside his fellow Colourists in exhibitions mounted in London and Paris, whilst his son, A. J. McNeill Reid, organised a solo exhibition at the Feragil Galleries in New York in 1929.Paintings of Largo by Hunter can be found in various public collections including those of Aberdeen Art Gallery and Museums, The Fleming Collection, London, The Hunterian, University of Glasgow, Kelvingrove Art Gallery and Museum, Glasgow, Perth Art Gallery and the National Galleries of Scotland.

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) BOATS AND FIGURE, LARGO Signed, oil on panel 19.5cm x 29cm (7.75in x 11.25in) Alexander Reid, Glasgow Richard Green, London (SP 5150 MS)  George Leslie Hunter can be considered the most independent of the four artists known as the Scottish Colourists, along with F. C. B. Cadell, J. D. Fergusson and S. J. Peploe. Although born in Rothesay on the Isle of Bute, Hunter emigrated to California whilst a teenager and began his career in San Francisco. However, the destruction of his work in the city’s earthquake of 1906 prompted a move to Glasgow, which was to remain the base of a nomadic lifestyle until his death in 1931.It is not known what first drew Hunter to work in Fife in eastern Scotland, which is bordered by the Firth of Tay, the Firth of Forth and the North Sea. However, between 1919 and 1924 he spent part of each spring and summer in the region, with its fertile and in parts coastal landscape, as well as its picturesque architecture the focus of his creative endeavours, as seen in Fife Landscape. As Hunter’s biographers Bill Smith and Jill Marriner have pointed out ‘It was there that he made the break to paint en plein air. The artistic ground he gained as a result marked an important turning point in his development in terms of modern colour.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2011, p.79).‘Largo’ comes from the Gaelic word meaning hillside and is the name of a region in the East Neuk of Fife. It consists of the villages of Upper and Lower Largo and Lundin Links. It was in this area that Hunter painted Boats and Figure, Largo and Figures on the Pier, Largo. Given their intimate scale, they were probably made on the spot in direct response to the views before him, of modest fishing boats moored at Lower Largo harbour. Particular attention is paid to the vertical mooring posts, the draw of mooring ropes and the colourful figures arrayed along the pier. The depiction of water in motion is signified by expressive brushstrokes, whilst highlights of bright colour, especially of red, enliven the compositions.Both paintings passed through the hands of the renowned dealer Alexander Reid, in whose Glasgow gallery, La Société des Beaux Arts, Hunter received his first solo exhibition in 1913. Reid did much to support Hunter’s career, championing him alongside his fellow Colourists in exhibitions mounted in London and Paris, whilst his son, A. J. McNeill Reid, organised a solo exhibition at the Feragil Galleries in New York in 1929.Paintings of Largo by Hunter can be found in various public collections including those of Aberdeen Art Gallery and Museums, The Fleming Collection, London, The Hunterian, University of Glasgow, Kelvingrove Art Gallery and Museum, Glasgow, Perth Art Gallery and the National Galleries of Scotland.

Ethnographica: Austral Islands (French Polynesia) paddle, probably mid 19th century, the pommel (hand-carved using shark teeth) with eight stylised nio mango masks, some retaining two short 'horns' to forehead, over pierced openwork scallop and shark tooth frieze above intricately carved shaft with dog tooth and lozenge decoration, flanking a medial frieze of sunburst lozenges, to a fig-shaped oar or paddle, the reverse with further fine bands of x, lozenge, dog tooth and wave decoration flanking a carved central ridge, the face with plainer vertical bands of x and dog tooth decoration, the paddle head 18.5cm wide x 31.5cm high, 98.5cm long overall, 568g approx Local private collection, North Somerset. By repute - brought back from the Austral Islands by the grandfather of the current owner, who served in the Navy. It is thought that these paddles were mainly made for ceremonial dance purposes. For an Austral Islands chieftain's staff (previously used as a curtain pole in a cottage in Frome, Somerset!) exhibiting six nio mango masks, sold in these rooms for £15,500, see 13th June 2024 sale, lot 189, where cited: Literature: Mack, Charles W., 'Polynesian Art at Auction 1965-1980', 1982 Hall, Henry Usher, Woodcarvings of the Austral Islands [Penn Museum Journal] Read, Sir C. H., “On the Origin and Sacred Character of Certain Ornaments of the South-Eastern Pacific” [Journal of the Royal Anthropological Institute, Vol. 21, 1891-1892]

* IAN MCKENZIE SMITH CBE PPRSA PPRSW LLD RGI (SCOTTISH b.1935), SUMMER watercolour on papermounted, framed and under glassimage size 46cm x 59cm, overall size 64cm x 77cmProvenance: Attributed and titled on Fine Art Society, Old Bond Street, London exhibition label verso, dated September 1997. Artist's label verso with address of 70 Hamilton Place, Aberdeen.Note: Ian McKenzie Smith’s work shows his continuing commitment to a distinctly personal brand of landscape based abstraction: a subtle evocative way of painting that owes something to Eastern traditions, as well as the American colour-field painters of the 1950’s. A travelling scholarship took him to Paris where he met the Japanese artist Kenzo Okada and encountered Zen philosophy. An oriental sense of balance and calligraphic finesse has been a feature of his work ever since. Awarded the OBE and CBE for services to art, he was director of Aberdeen Art Gallery and Museums for some thirty years, is Past President of the Royal Scottish Academy, Past President of the Royal Scottish Society of Painters in Watercolours and a former Trustee of the National Galleries of Scotland. Numerous works are in many public collections including the Scottish National Gallery of Modern Art, The Government Art Collection, Aberdeen, Dundee, Edinburgh, Glasgow and Perth Art Galleries, and in private collections in the UK, Europe, North America and Japan. Ian McKenzie Smith's work rarely appears at auction.

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), COTTAGE ON THE GREEN, TIREE oil on canvas, signed, titled label verso framed image size 46cm x 51cm, overall size 62cm x 67cm Label verso: Walker Galleries Contemporary Art, Harrogate Note: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but relatively rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). More recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer). Furthermore, two Pam Carter oil paintings were sold at an auction house in England in March 2025 achieving hammer prices of £3000 and £3800. These and several other auction results reflect the broad appeal and growing interest (and values) of Pam's work.Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.

* KEN CURRIE RSA (Elect) (SCOTTISH b. 1960), GALLOWGATE MAN WITH BATTERIES conte with pencil and pastel on paper, signed, further signed titled and dated 1987 versomounted, framed and under glassimage size 82cm x 69cm, overall size 96cm x 85cm Note: Ken Currie RSA (Elect) is renowned for his unsettling portrayal of the human figure. His rich, luminous paintings depict mysterious rites, rituals, and quasi-medical practices, offering a meditation on violence in its many guises. Currie studied at the Glasgow School of Art from 1978-1983 and rose to attention within a generation of painters known as the 'New Glasgow Boys' in the 1980s. In 1987, Currie completed a powerful series of large scale History paintings for the People’s Palace in Glasgow. Through the 90's, deeply affected by humanitarian events in Eastern Europe, Currie's works evolved, his focus shifting to confront ideas of mortality and corruption, both physical and moral. Over the last 10 years Currie's work has addressed the horrors of the contemporary world, without shying away from their brutality or grotesque nature. His painting Unknown Man, a portrait of the eminent Forensic Anthropologist Sue Black was acquired for the Scottish National Portrait Gallery in 2022. A new book “Ken Currie Paintings and Writings”, was published in 2023. Ken Currie has exhibited widely internationally, including a 2013 solo exhibition at the Scottish National Portrait Gallery which also commissioned his painting Three Oncologists. Currie's work is held in many major public collections including Tate, London; Scottish National Gallery of Modern Art, Edinburgh; Montreal Museum of Contemporary Art; McMaster Museum of Contemporary Art, Hamilton, Ontario; Campbelltown Arts Centre, New South Wales; Yale Center for British Art, New Haven; Gulbenkian Foundation, Lisbon; and the British Council, London. In all, sixty-three of his artworks are held in UK public collections.

A brass Trench Art cylindrical vase with Eastern design, 28cm H, a World War One Christmas tin and a box of early 20th Century postcards

Circa 1500-1250 B.C. Cylinder with cord and bead handles; accompanied by a copy of an old scholarly note, typed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'Description of Cylinder Seal of brown Hematitite (sic), 29 x 15.5 mm. Standing composite figure with human legs and body, but a bird's wings and head, is placed between a large recumbent horned quadruped with long neck and a smaller horned quadruped with short neck; other items; scorpion, hand, fish, star. The whole of the design in enclosed within upper and lower rules. This is a good example of the Mitanni Elaborate Style, from anywhere between north-western Iran and the eastern Mediterranean. As is normal for such Mitanni seals, the cutting was done entirely with three semi-mechanical tools: the drill, the tubular drill and the cutting wheel. The date will be c. 1500-1250 B.C. The ancient name of the composite figure is not so far known. Save for a gash on the standing figure, the condition is fine.'; supplied with a museum-quality impression. 14.4 grams, 23 mm (1 in.). [No Reserve] UK private collection, acquired 1980-1983. Accompanied by a copy of a scholarly note typed by Professor Wilfrid George Lambert in October 1987. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

14th-10th century B.C. A group of large tanged arrowheads, mainly of triangular type with some barbed examples. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowheads. 288 grams total, 6.4-16.9 cm (2 1/2 - 6 5/8 in.). [12] Ex London art market, 1980-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Although some of them are different in shape, these arrowheads are apparently related types of a polythetic group. Two basic deltoid forms are represented: one has a sharp, flat blade, the ends of which extend to form wings or barbs, and a prominent midrib extending into a long tang that often has a stop; the blade shape varies from deltoid to more triangular. The other form has no barbs, but it has a prominent midrib extending to the tang, and a narrow leaf-shaped blade.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

7th century B.C. Matched pair of hollow-formed pendants, each a bull's head modelled in the round with a rosette to the rear beneath the loop. Cf. Torn Broers, P., ‘A Late Bronze Age Gold Bull Head Pendant from Tel Dor’ in Davidovich, U., Yahalom-Mack, Matskevich, S., Agypten und Altes Testament, 110, Material, Method and Meaning, Papers in Eastern Mediterranean Archaeology in Honor of Ilan Sharon, Münster, 2022, pl.10.1, for a similar bull head. 5.39 grams total, 23-24 mm (7/8 in.). [2] Acquired in 1986. with Taisei Gallery, Gold & Silver Auction, Part II, Ancient to Renaissance, 5 November 1992, The Conrad Salon, The Waldorf-Astoria, New York, no.165. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11969-210472. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.In Cyprus, the cult of the bull developed from the 3rd millennium B.C. until the 6th century B.C. The bull was a 'frequently invoked manifestation of divinity', and its cult was widespread since the Minoan Age. The appearance of gold bull-head pendants in tombs had an aesthetic and social value, but at the same time it also had a deeper symbolic and religious meaning.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Early 2nd millennium B.C. Having foliate blade with central rib and slender shoulders, short rectangular shaft and tang with a bent end. Cf. Muscarella, O.W., Bronze and Iron, ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, no.176, for the type. 412 grams, 42.5 cm (16 3/4 in.). Acquired 1980-2015. Ex Abelita family collection. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.A number of similar blades, some considered to be spearheads and others to be daggers, all with bent tang, derived from Tepe Hissar Culture III. Some of them, like our specimen, have a button terminal, some others have a plain, pointed terminal. The general dating of these specimens is fixed to the early 2nd millennium B.C.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Pleistocene Period, 2.6 million-11,700 years B.P. Restrung using recently polished Mammuthus primigenius bone beads. See Guide to the Elephants (Recent and Fossil) in the British Museum (Natural History), BM, 1922, pp.35-47, for discussion. 155 grams, 60 cm (23 5/8 in.). [No Reserve] Acquired on the UK art market before 2000. Property of an Essex, UK, gentleman.The mammoth lineage branched from the Asian elephant around 6 million years ago, and later on the Woolly Mammoth, Mammuthus primigenius, evolved in eastern Siberia. Woolly mammoths, being slightly smaller than living African elephants, were foragers and ate grass, as well as small, nutritious flowering plants that flourished in the environment where they lived. They may also have used their curved tusks to dig through snow and eat plants that other foragers couldn't get to.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

6th-4th century B.C. With a slender piriform body and two lug handles, conical neck with everted rim. Cf. The Metropolitan Museum of Art, New York, accession no.74.51.5120, for similar; cf. also Bissing, F.W., Studien zur ältesten Kultur Italiens. IV. Alabastra. Studi Etruschi 13, pp. 131– 78, pls.XII-XIII for similar examples. 72 grams, 11 cm (4 3/8 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.An example of the greater variability in form is the stone type with alabastron body and anthropomorphic top, sculpted with the upper body of a female. These types have been found in the eastern Mediterranean and Italy dating from the 7th century to the mid to late 6th century and can be divided into two groups: an eastern group beginning in the seventh century, based on Mesopotamian prototypes, and probably produced on Cyprus, as evidenced by its close relation to contemporary Cypriot sculpture; and a western group dating to the first half of the sixth century and produced in Etruria, probably in imitation of eastern examples.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

8th-10th century A.D. Comprising a tapering square-section body with narrow shoulder and balustered flared neck. 22.71 grams, 97 mm (3 3/4 in.). [No Reserve] Ex important Middle Eastern Royal Family London collection, 1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

11th-13th century A.D. A 'Curonian' sword comprising a straight blade with a narrow and long tang, showing signs of employment on the edges; boat-shaped bronze cross guard with Jellinge style decoration of circles and crosses; rivetted seven-lobed pommel with an upper guard showing similar ornament. Cf. Kazakevičius, Балтские мечи IX-XIII вв. (Baltic Swords, 9th-13th century AD), Vilnius, 1996; Peirce, I., Swords of the Viking Age, Suffolk, 2002; Tomsons, A., ‘Symbolism of Medieval Swords from the territory of Latvia during the 11th-13th centuries’ in Acta Universitatis Lodziensis. Folia Archaeologica 29, Łódź, 2012, pp.145-161. 689 grams, 81.5 cm (32 in.). [No Reserve] Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12618-235588. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The sword, with its seven-lobed pommel and its guards finds good parallels with Baltic swords used by Prussian, Curonians, Estonian and Lithuanian pagan warriors; clear parallels can be seen in Kazakevičius 1996, figs.62-63 (fig.2) and Tomsons, 2012, fig.2 (Fig.3),3,7. The Curonian swords of this type, sometimes with animal head decoration on the lower guard, were widespread and used in the Eastern Baltic lands from 10th to 13th century.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

13th-6th century B.C. Comprising triangular types with thick midrib, heater-shaped, leaf-shaped, and other types. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowheads. 340 grams total, 8.7-17.5 cm (3 1/2 - 6 7/8 in.). [12] Ex London art market, 1980-1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.One category of the represented arrowheads has a sharp, flat blade, the ends of which extend to form wings or barbs, and a prominent midrib extending into a long tang that often has a stop; the blade shape varies from deltoid to more triangular. Another form has no barbs, but it has a prominent midrib extending to the tang, and a narrow leaf-shaped blade.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

13th-6th century B.C. Comprising triangular types with thick midrib, heater-shaped, leaf-shaped, and other types, one with a long tang and barbed head. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowheads. 312 grams total, 76-162 mm (3 - 6 3/8 in.). [15] Ex London art market, 1980-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.One category of the represented arrowheads has a sharp, flat blade, the ends of which extend to form wings or barbs, and a prominent midrib extending into a long tang that often has a stop; the blade shape varies from deltoid to more triangular. Another form has no barbs, but it has a prominent midrib extending to the tang, and a narrow leaf-shaped blade, with squared shoulders.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

6th-4th century B.C. Biconical with median gusset, showing a standing ling grasping the throat of two rearing gryphons; supplied with a museum-quality impression. 3.39 grams, 24 mm (1 in.). Ex 'S' collection, London, UK. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Flemish, late 19th century A.D. or earlier. In late 15th century style, Mary ascending to Heaven in the foreground with her arms crossed, dressed in a white and blue garment, wrapped in a red cloak; surrounded by four angels in white embroidered robes, covered by red, green and gold mantles; on the background the grave of Mary surrounded by vegetal ornaments; inscription at the bottom in medieval Flemish ‘DE HEMELVAART VAN MARIA’ (the Assumption of Mary) in uncial letters; some restoration. Cf. similar scene in the Metropolitan Museum of Art, New York, accession no.41.190.457, Assumption of the Virgin, stained glass from Jan Rombouts, circa 1505, in The Metropolitan Museum of Art, Bulletin 1971-January 1972, New York, 1972, p.52. 4.5 kg, 65 x 53.5 cm (25 1/2 x 21 in.). From a war-damaged church in Belgium. Ex property of a late Northumberland collector. From a private collection, Derbyshire, UK. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The Assumption of Mary into Heaven is a dogma of faith of the Roman Catholic Church, according to which Mary at the end of her earthly life went to Heaven in body and soul. According to the Eastern Orthodox tradition, the Assumption of Mary was preceded by a deep sleep (Dormitio Virginis): but the Dormition of Mary is not the object of dogma, while her glorification in body and soul is an integral part of the faith of the Catholic Church.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Circa 2200-2000 B.C. Discoid with strap handle to the rear, accompanied by typed and signed note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Stamp Seal of Bronze, 68 x 19mm. This is a round compartmented seal with wavy edge and loop handle on the back. The compartments, which rise from a solid back, form a pattern: the circle is divided into four quarters by two crossing bands of nine squares, and opposite quarters have the same design. Two have a bush or tree with branches sprouting from each side of the main stem, two have a scorpion. This is a seal from eastern Iran or Afghanistan, c.2200-2000 B.C. It is a large and fine example, and while there is now much corrosion on the surface, this could be removed with laboratory treatment.' 85 grams, 69 mm (2 3/4 in.). Ex collection of a late London gentleman, 1990s. Accompanied by an original typed and signed scholarly note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Circa 270-350 A.D. At the centre of the mosaic a company of three Nereid-nymphs riding across the sea on the back of two fish-tailed Tritons accompanied by a putto; the Nereids covered only by a red-mauve and cerulean cloak (chlamys) with yellow edges, draped around their legs; one of them waving a garment over her head; fourth Nereid dressed in a long green-blue chiton, with yellow collar and fastened at the waist by a red and yellow belt, offering a phiale to a centaur and waving a long cerulean cloak over her head, the centaur grasping the hem of her cloak and holding a snake in his right hand; the fish tails of the Tritons unfolding in elegant spirals on the seabed; Greek inscriptions with the names of the Nereids ΦΕΡΟΙϹΑ (= Ferousa, the ‘carrier’), ΚΥΜω (Kymo, goddess of the waves), (ΕΥΚ) ΡΑΝΤΗ (Eukrante, the Nereid of the successful voyages and fishing) and probably the name of one of the Triton, ΕΥΟΡΜΟΣ (Euormos, ‘safe harbour for mooring’) or a Roman Age contraction of the name of a fourth Nereid, Euarne, 'the well lambed'; some restoration. Cf. Campbell, S., The Mosaics of Antioch, Toronto, 1988, pls.13,21, for similar mosaics in style and topic; Neira, L., ‘The Sea Thiasos of Nereids and Tritons in the Roman Mosaics of Turkey’ in Şahin, M., (ed.) 11TH International Colloquium on Ancient Mosaics, October 16th - 20th, 2009, Bursa, Turkey, Mosaics of Turkey and Parallel Developments in the Rest of the Ancient and Medieval World: Questions of Iconography, Style and Technique from the Beginnings of Mosaic until the Late Byzantine Era, Istanbul, 2011, pp.631-654, figs.1-46, and especially figs. 40-42 and 46, for similar mosaics. Art & Antiques, Collecting the Ancient World, Volume: XXXII, p.81, June 2009. 53.1 kg, 162 x 151 cm (63 3/4 x 59 3/8 in.). [A video of this lot is available to view on Timeline Auctions Website]From the private collection of V. Colin, Belgium, 1960s. with Ariadne Galleries Inc, New York, 2008. Accompanied by a copy of an Art Loss Register certificate no.S00017755, dated 11 September 2008. Accompanied by an academic report by Dr Raffaele D'Amato. Accompanied by a copy of the Art & Antiques article. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12605-230246. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The thiasos theme with marine cycles was very popular in the Hellenistic and Roman times. In the Late Roman Period, especially in the Greek speaking Eastern provinces of the Empire, the mythological subjects of heroes and goddesses multiplied in the rich villas and public buildings, like basilicas and thermae (public baths).TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Uruk, 3rd millennium B.C. With incuse frieze of three horizontal lines of stylised seated figures, pierced for suspension; supplied with a museum-quality impression. 17.5 grams, 21 mm (3/4 in.). Ex 'S' collection, London, UK. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Circa 1400-1200 B.C. Cylinder with cord and bead handles; accompanied by a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'Cylinder Seal in Fawn Stone, Concave, 25 x 12.5 mm. The main figures are three; a nude female frontally shown save for her head, which is sideways; facing her a standing figure in a long fringed robe, with one arm awkwardly placed behind him; on the other side of the nude female a kneeling figure holding up a bull by the hind leg. Above the main scene are two browsing quadrupeds, one clearly a stag. Between the nude female and the figure on the left is a head of a horned animal. A second such animal's head above a sideways browsing stag forms a terminal. The whole design is placed between two lines. The seal is Mitanni, c 1400-1200 B.C., from anywhere between the eastern Mediterranean and Kurdistan. It has a very full design and looks like a common style, but it is cut on stone, not made of frit, and the design is very deeply cut so that a fine, well-rounded impression is given. Also, being of stone, it is more durable than those of frit. Though there is some wear, the deep outlining means that nothing has been lost as a result.'; supplied with a museum-quality impression. 6.34 grams, 25 mm (1 in.). [No Reserve] UK private collection, acquired 1980-1983. Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in July 1991. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Circa 2100 B.C. Conical with a domed top, ten-line inscription for Gudea of Lagash, giving a record of the building of Eninnu, the temple of Ningirsu: 'For Ningirsu, the powerful warrior of Enlil, Gudea, ruler of Lagaš, brought about perfection: he built and restored his E-ninnu-anzud-babbar.' 172 grams, 12.2 cm (4 3/4 in.). From an important collection formed before 1988. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and 1990s. Accompanied by a copy of a scholarly note by Professor Wilfrid George Lambert. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Votive cones are one type of royal foundation deposit, objects that were buried in the walls and beneath the floors of important buildings during construction to sanctify the site and to create a historical memory of the ruler and his achievements.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

13th-6th century B.C. Comprising a variety of tanged triangular and leaf-shaped arrowheads with thick mid-rib, one barbed-and-tanged example. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowheads. 375 grams total, 7.7-16 cm (3 - 6 1/4 in.). [16] Ex London art market, 1980-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.One category of the represented arrowheads has a sharp, flat blade, the ends of which extend to form wings or barbs, and a prominent midrib extending into a long tang that often has a stop; the blade shape varies from deltoid to more triangular. Another form has no barbs, but it has a prominent midrib extending to the tang, and a narrow leaf-shaped blade.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

9th century A.D. With narrow straight blade, shank to the rear with square hammer-face, inlaid geometric and vegetal ornaments. Cf. Hjardar, K. & Vike, V., Vikings at war, Oxford-Philadelphia, 2016, p.163, lett. Y, for typology. 275 grams, 17.7 cm (7 in.). [No Reserve] Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Battle-axes came into use in Scandinavia, especially in the Eastern parts of Sweden, Gotland and Denmark. Among the types, there were narrow-bladed types described to be very light in the sources. They could weigh as little as 200-250 grams, making them suitable for single-handed use. Some of them were decorated according to the Slavic taste.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Circa 2000-1600 B.C. Fragment of a pillow-shaped tablet, cuneiform text to both broad faces and one edge. 58.8 grams, 50 mm (2 in.). [No Reserve] Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

1800-700 B.C. Including mainly triangular and leaf-shaped types of arrowheads, and two small daggers with pierced tang. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowheads; for the daggers see Maxwell-Hyslop, R., 'Daggers and swords in Western Asia: a Study from Prehistoric Times to 600BC,' in Iraq, Volume 8, 1946, pp.1-65, pl.III, type 27. 251 grams total, 10.5-17 cm (4 1/8 - 6 3/4 in.). [7] Ex London art market, 1980-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Small tanged blades without a rivet, which have sometimes been identified as spearheads, are knives, while the rivetted form could have been used as a dagger or for domestic purposes. Both forms are characteristic of the Hyksos period in Palestine. A curious blade from Byblos (Level 19) represents the earlier form of this type.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

19th-16th century B.C. Pillow-shaped with impressed bands of cuneiform text to both broad faces, one edge and one end. 70 grams, 60 mm (2 3/8 in.). Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1988. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. The collection is exceptional for the variety of types, including some very rare and well preserved examples. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

1st century A.D. Fragment of an elliptical base for a statuary group, with gusset to the forward edge; upper face with two pairs of bare human feet modelled in the half-round, with the left foot of the right pair placed before the right foot of the other pair, suggesting a family group (e.g. parents with baby in their arms) standing very close to each other; mounted on a custom-made stand. 6.2 kg total, 38.5 cm including stand (15 1/4 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Pierre Sciclounoff collection, acquired in 1970. Byron Zoumboulakis collection, acquired in 1986. Accompanied by a copy of an Art Loss Register certificate, dated 11 August 2004. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12673-234639. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Pierre Sciclounoff was a noted 20th century collector with a particular interest in classical and Near Eastern antiquities. His collection was widely regarded for its scholarly depth and was formed during a period of active collecting in Europe during the post-war decades. Byron Zoumboulakis, a prominent Greek collector and art dealer, is known for his extensive contributions to the art world through the Zoumboulakis Galleries in Athens, established by his family. His collection spans antiquities, modern, and contemporary art, and he has played a key role in promoting cultural heritage in Greece.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Middle Bronze Age, late 3rd-early 2nd millennium B.C. An anchor-shaped semi-circular blade, semi-elliptical in section, narrow socket with a long extension to the rear. For a similar example see no.509, p.385, in Muscarell, Bronze and Iron: Ancient Near Eastern Artefacts in the Metropolitan Museum of Art; also cf. Gernez, G., L’armament en métal au Proche et Moyen-Orient: des origines a 1750 av. J.C., Paris, 2007, fig.2.47, type H5, for the type; and an almost example in Christie's New York, 5 December 2012, no.174 ($8,000-$12,000). 557 grams, 11.1 cm (4 3/8 in.). Previously in a London, UK, collection, 1970s. Ex Rabi Gallery 1991. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The ‘anchor’ axes belonged to a homogeneous type of axe, similar to the fenestrated axes, but displaying a different hafting method. The handle was inserted into a short cylindrical collar except at the back, where it extended to a width roughly equivalent to that of the blade. The two ends of the blade widened to form a concave face resting against the handle, thus ensuring a firm support. The edges of the fenestrelles were prominent and sometimes have decoration. At the back of the collar, there was always a spherical or flattened knob. The function of this knob can only be conjectured: it seems too small to serve as a counterweight, hence it was probably an element used to wind the handle's attachment cord.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

13th-6th century B.C. A group of large tanged arrowheads mainly of triangular type. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowheads (nos.396, 407, 416). 319 grams total, 8.7-16.8 cm (3 1/2 - 6 5/8 in.). [14] Ex London art market, 1980-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.One category of the represented arrowheads has a sharp, flat blade, the ends of which extend to form wings or barbs, and a prominent midrib extending into a long tang with a stop; the blade shape varies from deltoid to more triangular. Another form has no barbs, but it has a prominent midrib extending to the tang, and a narrow leaf-shaped blade.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

9th-11th century A.D. Polyhedral weight bearing Insular Style inlaid decoration in the form of serpentine creatures in tondos, on a silver inlaid background. Cf. similar weights in de Wilde, R., Weights, Scales and Pawns of Ancient Civilizations, 2017, p.172; cf. also for the type, Reynolds, A., Webster, L., Early Medieval Art and Archaeology in the Northern World, Studies in Honour of James Graham-Campbell, The Northern World, North Europe and Baltic c.400-1700 A.D., Peoples, Economies and Cultures, Leiden-Boston, 2013, p.303, type 6. 176 grams, 38 mm (1 1/2 in.). [No Reserve] Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.These weights were adopted by the Vikings from Middle Eastern examples and appear to have become a typical weight standard for traders. They are, in archaeology, an important form of evidence for the Viking commerce. Many of them, like those found in Ireland and of Arabic type, suggest a standardised system of weights in different areas.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

4th-3rd millennium B.C. With a squat body and two looped eyes, slightly convex base. See parallel idols in the Louvre Museum, accession number SB 9141, for similar; Metropolitan Museum of Art, accession no.1988.323.8; British Museum, excavated by Professor Sir Max Edgar Lucien Mallowan, inv. Nos.126473, 126477 and 126479; see also Collon, D., Ancient Near Eastern Art, London, 1995, p.47, for type; for the discussion on Tell Brak, their iconography and the religious meaning of eye idols see Green, J.B. & T.R., Gods, Demons and Symbols of Ancient Mesopotamia, An illustrated dictionary, London, 1992, pp.78-79. 34 grams, 38 mm wide (1 1/2 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Acquired in the 1980s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.This type of figurine belongs to the type known as an ‘eye idol’ or ‘spectacle idol’, made of stone, marble or alabaster. Usually models having incised eyes (but also examples of open eyes are found) have been excavated mainly at Tell Brak, where thousands were found in a building now called the Eye Temple. There, in the precincts of the temple, excavators have found thousands of little 'eye-idols', schematised humanoid figures fashioned from alabaster, limestone, soapstone and black burnished clay.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Circa 2000-1600 B.C. Pillow-shaped with impressed cuneiform text to both broad faces. 20.9 grams, 35 mm (1 3/8 in.). [No Reserve] Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Early 2nd millennium B.C. Leaf-shaped blade with a raised midrib, rectangular-section tang bent to a right-angle with a knop to the end. Cf. Muscarella, O.W., Bronze and Iron, ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, no.176, for the type. 243 grams, 34 cm (13 3/8 in.). Ex London art market, 1980-1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.A number of similar blades, some considered to be spearheads and others to be daggers, all with bent tang, derived from Tepe Hissar Culture III. Some of them, like our specimen, have a button terminal, some others have a plain, pointed terminal. The general dating of these specimens is fixed to the early 2nd millennium B.C.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

19th-16th century B.C. Pillow-shaped with band of impressed cuneiform text to upper edge and partial band to the middle. 124 grams, 72 mm (2 7/8 in.). Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1988. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. The collection is exceptional for the variety of types, including some very rare and well preserved examples. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Western Europe, late 16th century A.D. A (reiterhammer) head made as a single solid iron bar, one end shaped as a squared hammer and the other as a pointed curved spike; the head showing a strong quadrangular outline; the spike is a 'raven beak' shape of pointed section, oval socket with saltire cross flanked by two vertical lines on either side. See Thordeman, B., Armour from the Battle of Wisby, Malmö, 1939 (2001); Wilkinson, H., Antique Arms and Armour, London, 1972; Edge, D., Miles Paddock, J., Arms and Armour of the Medieval Knight, London, 1988. Exhibited at the Harwich Museum, Harwich, Essex, UK, 12th March-9th June 2025; accompanied by a copy of a photograph of the artefacts on display. 174 grams, 14.2 cm (5 5/8 in.). [No Reserve] From a North American collection formed in the 1970s-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.This war hammer is of the type used by European cavalry in the 16th century, represented in iconography (battle of San Romano, painting by Paolo Uccello of 1455 AD; portrait of Maurice of Saxony made in 1578 AD by Lucas Cranach the Younger) and showing parallels with similar examples in the Deutsches Historisches Museum in Berlin. Reiterhammers of this type are called ‘raven’s beak’ (bec de courbin) in the sources; the shaft was originally a wooden shank reinforced by metal shafts with one-handed handle, but in the later models, like our specimen, the astile could be entirely in metal, thinner than the wooden one, with guard and knob to better ensure the grip on the handle for a user wearing a glove. The war hammer was developed to counter the protection offered by plate armour, which made simple cutting weapons useless. In a military context dominated by the figure of the knight in plate armour, the sword lost its status as a weapon par excellence. The evolution of this offensive weapon ran in parallel with that of complete armour. When the latter developed ridges to limit the damage from thrusting hits, the war hammer gained prominence as a penetrating weapon. Weapons capable of concentrating a considerable force on a narrow target, a joint or a precise point of the armour proved to be more effective in the fray. As much as the mace of arms and the archer’s axe, the war-hammer became a decisive melee weapon for the knight. The weapon, descended from the East-Roman akouphion, began to be used by armoured knights in the 14th century, due to the need to better the axe and the mace of arms with a piece of equipment capable of inflicting injuries through armour. It reached its full development only at the end of the 15th century, but its wide use in the 16th century is widely documented by archaeological artefacts and iconography, like the one representing the battle of Dreux, in an engraving of 1588 AD, one of the first clashes of the Wars of Religion in France, where knights are visible fighting on horseback with such weapons in their hands. The war hammer was often visible in tournaments, and, much like sword hilts, war hammers became richly decorated with etching and gilding, often appearing to be works of art. However, they never lost their primary function as dangerous weapons (Edge-Miles Paddock, 1988, p.149). With the seventeenth century and the establishment of portable firearms (pistol and petronel) as weapons of the new heavy cavalry (Cuirassiers and Reiters) the war hammer disappeared from western battlefields. In Eastern Europe, its variants, such as the Polish nazdiak, remained in use among cavalry forces until the 18th century, when it finally fell into disuse along with the axe and mace, starting from the Napoleonic Wars, when the model of the horseman armed only with sabre and pistol became dominant.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Uruk Period, 5500-3100 B.C. Group of irregular ceramic fragments with low-relief zoomorphic and other ornament. 131 grams, 25-56 mm (1 - 2 1/8 in.). Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1988. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. The collection is exceptional for the variety of types, including some very rare and well preserved examples. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

19 century B.C.-6th century A.D. Including triangular, leaf-shaped, barbed, paddle-shaped arrowheads with a flat, comparatively wide mid-rib, and others. Cf. for similar arrow-points Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, (plate XLIII, nos.26-27, 92-93); cf. Bavant, B., Ivanišević, V., Caricin Grad IV, Catalogue des objets des fouilles anciennes et autres etudes, Rome-Belgrade, 2019, figs.1687-1688, for similar Eastern Roman arrowheads. 176 grams total, 3.4-10.2 cm (1 3/8 - 4 in.). [26] Ex London art market, 1980-1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Some of the represented arrowheads (paddle-shaped) were typical of the Old Babylonian Empire. The shoulders were pronounced and the arrowhead had a rectangular-section tapering tang. This simple form was popular throughout and are comparatively common finds in the Holy Land. The collection includes a rare Eastern Roman iron type with triangular blade having rhomboid section and short tang.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

2200-600 century B.C. Comprising four triangular and leaf-shaped blades, one with pierced tang with rivet hole and one pierced through the shoulders with two rivet holes; an arrowhead with strong mid-rib, short tang and narrow foliate blade. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowhead; for the daggers see Maxwell-Hyslop, R., 'Daggers and swords in Western Asia: a Study from Prehistoric Times to 600BC,' in Iraq, Volume 8, 1946, pp.1-65, pl.III, types 16,27. 321 grams total, 15-24.5 cm (6 - 9 5/8 in.). [5] Ex London art market, 1980-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Some of the daggers represent one of the earliest form of the tangless round-heeled dagger, and the smaller examples were used as knives. Small tanged blades without a rivet, which have sometimes been identified as spearheads, are knives, while the riveted form could be used as a dagger or for domestic purposes.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Early 2nd millennium B.C. Pillow-shaped with cuneiform text to the upper face; underside partly lost. 122 grams, 68 mm (2 5/8 in.). [No Reserve] Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.